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REGGIE WORKMAN ANDREW CYRILLE St. Peter’s Church December 10
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Ira Gitler’s Apple Chorus Jazz Club Profile: RARE’s Lexington Lounge and Marjorie Eliot’s Parlor Jazz
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Jazz Improv’s New York Jazz Guide & Directory
CONTENTS
ISSN: 1556-0600
December 2006 - Volume 2, Number 6 Cover Design by Karry Thomas
HOLIDAY GIFT GUIDE
Cover Photo of Wynton Marsalis by Clay Patrick McBride Publisher: Eric Nemeyer Editor: Winthrop Bedford Advertising Sales & Marketing: Jamie Cosnowsky Advertising & Marketing Associate: Lashawn Malloy Circulation: Ellen Kahn, Robin Friedman, Susan Brodsky Photo Editor: Joe Patitucci Interns: Kaila Prins, Dimitry Ekshtut Contributing Artist: Mary Jo Schwalbach Gitler Contributing Photographers: Eric Nemeyer, Joe Patitucci, E.S.
Proteus, Herb Snitzer, Ken Weiss. Bunshaft; John Contributing Writers: Dan Adler; Dan Bilawsky; Al Bunshaft; Cizik; Curtis Davenport; Bill Donaldson; Dimitry Ekshtut; Joe Ferrari; Ken Franckling; Eric Frazier; Robert Gish; Ira Gitler; C.J. Glass; Dr. Wayne Goins; Clive Griffin; Rick Helzer; Scott Hockenberry; Steve Jankowski; Joe Knipes, Jan Klincewicz; Ron Lyles; Alex Makarov; Harry Maisonette; Margot Elizabeth Meyers; Dave Miele; Mercy Monet; Joe Patitucci; Marco Pignataro; Paul Sakion; Jim Santella; Mark Sherman; Rob Silverman; Annie Simmons; Peter Steinberger; Ken Weiss; Will Wyatt; Marshall Zucker. Advertising Sales
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12 pages (beginning on page 35) CLUBS, CONCERTS, EVENTS
ON THE COVER: Wynton Marsalis
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COLUMNS Apple Chorus, by Ira Gitler Latin Beat, by Harry Maisonette
Feature begins on page 19 Editorial Policies Jazz Improv ® does not accept unsolicited manuscripts. Persons
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LIVE PERFORMANCE REVIEWS Steve Davis at The Kitano; Alice Coltrane at New Jersey Performing Arts Center; Andrew Hill at Merkin Hall; Norman Hedman; Willie Martinez; John Pizzarelli at Highlights in Jazz, Tribeca Performing Arts Center, Ray Barretto Tribute; Gerald Wilson & The Juilliard Jazz Orchestra
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are $39.95 per year, USA; $69.95, Canada; $89.95 Foreign #1 (destinations with U.S. Global Priority delivery); $129.95 Foreign #2 (no Global Priority). All prices subject to change without notice .
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Directory of Clubs, Venues, Music and Record Stores, Schools & Universities Calendar of Events Announcements - Upcoming Events; Regular Engagements; Add’l Club and Venue Schedule Noteworthy Performances Jazz Brunch
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CLUB & VENUE PROFILES Parlor Jazz, Hosted by Marjorie Eliot RARE’s Lexington Lounge
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INTERVIEWS & SKETCHES Wynton Marsalis Steve Tyrell Reggie Workman Andrew Cyrille Chris Botti
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Copyright Notice Copyright © 2006 by E.S. Proteus, Inc. All rights reserved. No part of this publication may be copied, photocopied or duplicated in any form, by any means without prior written consent from E.S. Proteus, Inc. Copying of this publication is in violation of the United States Federal Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties as well as liability for substantial monetary damages, including statutory damages up to $50,000 per infringement, costs and attorneys fees.
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CD & DVD REVIEWS Louis Armstrong; Cheryl Bentyne; Alan Broadbent; Linda Bianchi; John Coltrane; Mary Foster Conklin; Bob DeVos; Alex Garcia’s Afro Mantra; Mark Helias; John Hicks; Hot Club of Detroit; Sean Jones; Barbara Lea & Loren Schoenberg Big Band; Elisabeth Lohninger; Myra Melford; Barbara Montgomery; Andrew Scott Potter; Michele Rosewwoman; Sonny Stitt; Jacob Varmus; Steve Turre; Vic Juris/ Cory Christiansen (DVD) The Jazz Billboard
Photo credits, front cover: Wynton Marsalis by Clay Patrick McBride (cover), and by Eric Nemeyer (page 2, above); Reggie Workman by Ken Weiss; Chris Botti by Eric Nemeyer; Steve Tyrell (courtesy, Steve Tyrell). To Advertise CALL: 212-889-0853
APPLE CHORUS
Ira Sullivan, Dave Frishberg & Others Ira Gitler
I first heard Ira Sullivan in 1949 (when he was 18) at one of the jazz sessions that Joe Segal was first presenting at Roosevelt College in Chicago. He was playing trumpet, influenced by the Miles Davis of the recently released Capitol 78s, that would later be dubbed “The Birth of the Cool.,” He was also playing alto sax with a Sonny Stitt flavor. He amazed me and has continued to do so over the years. He became known mostly for his tenor saxophone and trumpet, and not only plays all the reeds, but just about any other instrument. At a late hour jam at a jazz convention, he picked up the bass and later sat behind the drums to keep things going until the wee hours. He made his reputation in Chicago, but moved to Florida in the ‘70s. Red Rodney coaxed him into touring in the ‘80s but for the most part he can only be heard in southern Florida. I don’t remember the last time he was in New York, but any time he is it’s an event—as it was at Dizzy’s Club Coca Cola in early November. As a frontline guest in tenor man Eric Alexander’s Quartet, and backed by a smoking rhythm section of Harold Mabern, John Webber and Joe Farnsworth, Sullivan soloed on trumpet, flugel, tenor, soprano and flute. At 75 Ira is still a tower of swing and a fountain of soul. Another welcome visitor, this time from the Pacific northwest, Dave Frishberg arrived in town from Portland to team with vocalist Jessica Molaskey (John Pizzarelli’s wife and musical collaborator) for a run at Feinstein’s. Frishberg, supported everything with his nononsense pianism—percussively rhythmic when it had to be, and expressive at all tem pos. He did many of the songs his public wants to hear and revel in, no matter how
“When a true genius appears in the world, you may know him by this sign, that the dunces are all in confederacy against him.”
- Jonathan Swift
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familiar they are to them. This is particularly true of a live performance. So we heard “My Attorney Bernie” and “Quality Time,” the show’s title song. The chemistry also worked. Jessica and Dave combined on the “Can’t Take You Nowhere” and after Dave did his (and Bob Dorough’s “I’m Hip” and Jessica answered with Dave’s parody of “I Won’t Dance” entitled “I Won’t Scat.” And she sang Frishberg’s touching “Heart’s Desire.” More visitors from the West, this time
western Canada, Vancouver, British Columbia to be exact. Cory Weeds, proprietor of the Jazz Cellar club in Vancouver, has a label called Cellar Jazz. Ugetsu, one of the local groups he recorded live, made the trip to New York and, on Saturday night, November 11, appeared at the Fat Cat in Greenwich Village, opening for the Uptown Quintet, a New York group that has played at the Cellar and has a CD out on the Cellar Jazz label. Ugetsu is made up of tenor saxophonist Jon Bentley, tenor sax; Bernie Arai, drums; Brad Turner, trumpet; Rod Murray, trombone; Ross Taggart, piano; and Andre Lachance, bass. The Uptown Quintet is peopled by Ian Hendrickson-Smith, alto sax; Ryan Kisor, trumpet; Spike Wilner, piano; Dave Wong, bass; and Montez Coleman, drums.
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Both groups exhibited unbridled passion and the individuals transmitted genuine, personal voices in an idiom that radiates blues and beauty. Each group displayed original material from within its ranks, and also nodded to Joe Henderson—Ugetsu’s interpretation of “Caribbean Fire Dance” and Sonny Clark, Uptown’s rendition of “Blue Minor.” See “dese” CDs (and hear ‘em, too): Jimmy Heath’s Turn Up the Heath (Planet Arts), the Jimmy Heath Big Band playing his originals and arrangements with an all star array of players. Jimmy is also featured on a DVD (DanSun) entitled Brotherly Jazz, along with brothers Percy and Albert “Tootie.” Talking heads include Herbie Hancock; Jack DeJohnette; and Sonny Rollins, who says, “The Heath Brothers have made the world a better place. They’re what jazz is all about.” Meanwhile Rollins’ new label, Doxy. has it’s first release in Sonny, Please,, with a piano-less version of his Please regular group, adding Bobby Broom on guitar. How many of you remember Charles Mingus’ Music Written For Monterey 1965 Not Heard...Played in Its Entirety At UCLA? UCLA? Issued in a limited edition LP some years ago by Mingus’ wife, Sue Mingus, in an effort to thwart bootleggers, it is now available as a CD on Sue Mingus Music. Simultaneously, the label has issued The Mingus Big Band in Tokyo from 2005. Books: A quick, but entertaining and enlightening book by Lorraine Gordon, as told to Larry Singer, Alive at the Village Vanguard: My Life In and Out of Jazz Time,, has been published by Hal Leonard. I Time don’t think Lorraine told Singer all, but she did make one boo-boo: Sir Charles Thompson wrote “Robbins’ Nest,” not Count Basie. (Count did record it but Illinois Jacquet had the first and definitive version.) Also new--so new that I haven’t finished reading it--is Dark Magus: The Jekyll and Hyde Life of Miles Davis by Gregory Davis, (Miles’ son) with Lees Sussman and a foreword by Clark Terry (Backbeat Books).
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live performance reviews having a blast himself as he worked to keep the piano from rolling too far away from the pounding it was taking. The tiny Kitano bar rocked and I couldn’t help but think that this is how this music was meant to be played! While the band’s playing was the star of the evening, Wonsey’s solo was one of the individual highlights of the night. I’m sure that if you were down below in the hotel lobby, you would swear there was a party going on upstairs. As Wonsey’s solo wound down an excited audience member kept repeating “hold on baby…. don’t let it go” and I think all in attendance could identify with that comment. The energy, the swing, the groove, was something that I can’t describe, you have to feel it. You know it when it happens, and it doesn’t happen at most shows! The set closed with Herbie Hancock’s “The Maze,” the highlight of which was the addition of Roy Hargrove on trumpet. Hargrove’s solo was in your face, potent, angular, and exciting and had the crowd whooping encouragement. DiRubbo then followed with his most fiery solo of the set. Hargrove moved over to the side and was now shouting encouragement back to DiRubbo and then Davis as the band brought the song and the set to a close.
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on piano, Ivan Taylor on bass, Tony Reedus on drums and Roy Hargrove playing trumpet on one Live at The Kitano number. The album was made with similar inNovember 10, 2006 strumentation to this evening, but with a guitar, Alice Coltrane not a saxophone. This writer prefers the tromLive at NJ Performing Arts Center By Al Bunshaft bone, trumpet and sax over the trombone, trumOctober 22, 2006 pet and guitar, but it’s a personal preference. Both lineups do justice to this music. The guitar PERSONNEL: Steve Davis, trombone, Mike DiRubbo, alto saxophone; Anthony Wonsey, on the album makes the feeling warmer and By Ken Weiss piano; Ivan Taylor, bass; Tony Reedus, drums. cozier as opposed to the punch of the three brass Roy Hargrove joined on trumpet for the final instruments in the live set. Alice Coltrane has rarely performed on a piece. The set opened with a Wayne Shorter num- public stage over the past 30 years, choosing to ber, “Marie Antoinette.” Davis and DiRubbo led follow the teachings of Swami Satchdiananda Hard Bop is a genre which emerged in the the piece out playing the melody in unison and and head an ashram in Agoura, CA, where she is late 50’s and then the 60’s and was shaped by setting the tone for the tight, swinging set to known as Swamini Turiyasangitanada. At the artists like Art Blakey, Cannonball Adderley, follow. Davis then took the first solo with Won- urging of her son, saxophonist Ravi Coltrane, Lee Morgan, Jackie McLean and many others. sey laying in crisp chords as counterpoint to she agreed to appear with a quartet in three citWhile some of its earliest artists still play ac- Davis’ lead. The solo moved to DiRubbo and ies, her home town of Detroit along with New tively, sadly most of the originators are now then to Wonsey who both delivered solid solos Jersey and San Francisco. gone. I am not old enough to have been in those before passing the lead back to Davis. The quinThe New Jersey event took place at the clubs in the 50’s and 60’s. I can only imagine the tet then brought the piece down to a subtle close. NJPAC, an impressive jewel built into the heart energy and the feeling as each night something Dexter Gordon’s “Fenja” followed with a re- of downtown Newark. Appearing in a saffronnew was being created. Well it’s still possible to laxed, swinging opening. Davis played a strong colored sari, the soft-spoken and unassuming feel that energy because there is a new crop of solo. His playing is very accessible, but not trivColtrane led a quartet with son Ravi, drummer experienced professionals carrying on the tradi- ial. The band clearly enjoyed playing together Jack DeJohnette and bassist Drew Gress, standtion. Many of these artists, like Steve Davis and produced a very warm, balanced sound. ing in for an ailing Charlie Haden. Commencing whose quintet played on this Friday night at The The next piece was a Davis original called with the traditional Indian song, “Sita Ram,” Kitano, apprenticed under the hard bop masters “Spirit Waltz.” Reedus opened solo on his drum Alice chose the Wurlitzer organ to make her as Davis did with Blakey and McLean. set and then the group stated the melody. Davis initial statement while DeJohnette impressively Importantly though, this was an evening played the first solo followed by DiRubbo as the hammered out insistent beats on electronic tabthat not only looked back, it also looked forward. piece shifted into an earthy, sensuous groove. las. Ravi entered after 5 minutes to add piercing These mostly thirty-something year old pros, Just as they wound it down the song built back soprano, bending his knees to summon more made the music their own yet also preserved the up to a higher intensity and became a platform force. deeply swinging, R&B influenced roots of hard for Wonsey to take the spotlight. His solo was Alice Coltrane’s composition, “Translinear bop and kept them fully intact. The Kitano Ho- witty and inventive and slowly built into a torLight,” followed, featuring the leader on piano, tel’s bar is a perfect setting to see jazz and the rent of excitement. Part R&B, part gospel church showcasing her impressive facility on the instruroom lent a warm, intimate feeling to the set. party, Wonsey walked the keyboard with both ment. A quick left hand delivered a forceful The Davis Quintet played mostly pieces from his hands playing rhythmically as well as melodi- attack that was invigorating but never sacrificed Update.. Tonight’s cally. The excitement was palpable and the the luscious melodies built into her spirituallymost recent album called Update second set had Davis on trombone, with Mike crowd was shouting encouragement as his sheet infused playing. As DeJohnette worked his cymDiRubbo on alto saxophone, Anthony Wonsey music tumbled to the floor. Wonsey was clearly bals, showing off a light touch, Ravi blew com-
Steve Davis
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forting phrases on tenor which were altered and presented back to him by his mother. After the soothing “Jagadishwar,” bassist Reggie Workman joined the quartet for John Coltrane’s “Africa,” a nice touch considering he was the bassist on the original recording. He opened with a compelling solo bass line and soon Ravi confidently announced the head on his tenor prior to leaving the stage, allowing Alice’s hypnotic piano offerings more space to flourish. The two basses worked well together although their sound was significantly muffled in the large hall. The quintet crested along on top of DeJohnette’s polyrhythmic beats to create a transcendental state. Workman bowed a wobbly edge into the middle of the song before switching to slapping and plucking the strings. After a drum solo, Ravi returned to embellish the ending. After intermission, the quintet was joined by a large choir from the ashram and a full orchestra. Buoyed by the presence of so many of her loved ones around her, Alice appeared jubilant on stage. Images of planets, death and healing were shown on a large overhead screen during “Mata.” After “Universe,” the night’s highlight came with “A Love Supreme Part 1: Acknowledgement.” Up to this point, Ravi had played the role of the good son, understanding that his mother’s mission was to spread the love rather than the fire and brimstone but on this tune he and the entire band stepped out with an increased intensity, capping the historic event with an exclamation point. Afterwards, mother and son sat down for a public question and answer session. Alice discussed her life at the ashram where in addition to spiritual teaching, community service and feeding the poor are daily occurrences. She said, “I feel that when people serve without reward, it is more rewarding.” Ravi spoke of how happy he was to perform with his mother and stated, “I just want to congratulate my mother for the beautiful orchestrations.” The night ended with the ashram choir coming on stage to sing.
evolving ideas which seem to thrive on growth sticks, and dowel rods, knew exactly how to and change. This composition was no different provide the proper musical accompaniment and and his band mates followed him in mood, style support the different strains of style and sound. and sound from beginning to end. The earliest While the length of this piece and the degree of portions of this piece were fast and furious, with abstraction in much of the music might not have some aggressive sounds coming from John appealed to all, the majority of the audience Hebert’s bass and Charles McPherson’s drums. found it to be a stunning performance. None of the band members was relegated to a Following a brief intermission, Cuscuna simple timekeeping role and McPherson’s cha- and Hill took the stage to discuss the history of meleon-like abilities to constantly change and Passing Ships. A crude mix of this recording adapt were remarkable. The drummer provided a was the true culprit that kept it hidden away for fractured Latin groove which lead into a bass so long and it was interesting to hear Cuscuna dominated section of music. The time, which talk about the interest that came from the albums was slightly obscured at first, took on a more participants, like Lenny White and Howard defined role as Hebert’s arco bass playing filled Johnson, as a contributing factor for its eventual the room with a certain “Sturm und Drang.” release. Hill, who has strained vocal chords and McPherson, shifting between brushes, mallets, difficulty speaking, was happy to add an occa-
Andrew Hill Trio and Nonet Live at Merkin Concert Hall November 14, 2006 By Dan Bilawsky The story behind Andrew Hill’s Passing Ships , like the music on the recording, is intriguShips, ing and absorbing. This stellar album, recorded in the late 1960’s and not released until 2003, came to light through a strange series of circumstances. Michael Cuscuna, who is largely responsible for this release seeing the light of day, was on hand at the Kaufman Center’s Merkin Concert Hall for the first, and thus far only, performance of this music. This album, while only having a three year life span in the public eye, has already attained the highest praise from critics and the debut performance attracted an enthusiastic audience of appreciative fans. Hill’s trio opened the concert with a lengthy piece that clocked in at about 30 minutes. Much of Hill’s work is built on abstract harmonies and everTo Advertise CALL: 212-889-0853
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Photo of Andrew Hill by Jimmy Katz (Courtesy Blue Note Records) sional comment or response and these two piano for one encore and this coda to the concert, friends clearly enjoyed presenting these tales in somber in mood compared to the jubilance that front of an audience. The brief conversational ran through much of the Passing Ships material, element of the evening’s concert served as the gave the audience a glimpse into another side of introduction for the music that everybody was Hill’s musical persona. The Kaufman Center waiting to hear. The nonet, with Howard John- should be commended for their role in bringing son and Hill being the only alumnus from the this performance, as part of the “Reissue: Classic recording, took the stage and started things off Recordings Live” series, to life. It was an evewith “Noon Tide.” While the first few minutes ning that few in attendance are likely to forget! were marked by a bit of hesitation, due in small part to their lack of acclimation to Hill’s conducting style, the band began to really gel when A Tribute to “Mr. Hard Hands” the trumpets took over. Ron Horton, who relayed Ray Barretto many of Hill’s ideas to rest of the band, and Live at the Lehman Center for Kenyon Harold did a superb job as they tore the Performing Arts, Lehman College through the catchy militaristic trumpet riff that June 2-3, 2006 lights up the latter half of this song. J.D. Parran’s alto flute work helped to create the warm texture that permeates the recorded version of this par- By Harry Maisonette ticular piece. The performance of “Sideways” was driven by McPherson’s strong swing pulse Ray Barretto picked up his first conga drum and Parran’s tenor saxophone soloing. at a young age and never looked back. Back “Plantation Bag” mixes the exotic sounds that then, listening to jazz programs at night and his are typical of Hill’s work with a certain Donald mother’s Machito records during the day, he Byrd-esque funkiness. These qualities make the would beat anything he could get his hands on. song one of the best pieces on the album and it Barretto’s percussive journey began while statranslated equally well to the stage. Curtis tioned with the Army in Germany, jamming with Fowlkes used his plunger mute to great effect at other servicemen and emulating the Godfather of the outset of the song and Mark Taylor contrib- the conga, Chano Pozo. Upon his return to New uted some highly aggressive and appealing solo- York he purchased an old Mexican drum, and ing on french horn. The musicians were all nod- thus was a conguero born. Jam sessions being ding their heads to the beat and the enthusiasm scarce, he made his way down to Harlem on was contagious. The instrumentation of the en- 125th Street, to Minton’s and the Apollo Bar, semble, featuring a brass quintet, one woodwind meeting and jamming with such luminaries as and rhythm section, allowed for a large variety Roy Haynes, Max Roach, Sonny Stitt, and Charof settings and Hill, who shifted roles from con- lie “Bird” Parker. The latter asked Barretto to ductor to piano player throughout the evening, remain on stage. As Ray would tell the story, did a fine job with balancing the sound from “Parker put his hand on my shoulder and said, moment to moment and piece to piece. A slower ‘You stay.’” He remained for two weeks of inirendition of the title track, marked by a far tiation by fire. It was in this hotbed of creativity greater degree of rhythmic freedom, brought that Barretto culled his understanding of jazz things to a close. Hill graciously returned to the music. As he later said, “I got involved with 8
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them even before I got into Latin.” Barretto went on to become one of the most sought-after congueros in jazz, recording with Red Garland, Lou Donaldson, Gene Ammons, Sonny Stitt, Cannonball Adderley, and many others. Fittingly, the opening of this homage to Ray Barretto was entrusted to none other than the great Machito Afro-Cuban Big Band, which for the last 30 years has been under the direction of Mario Grillo, Machito’s son. Mario, an accom plished band leader and timbalero-percussionist in his own right, has carried on the rich legacy that his father left. Composer and arranger Mario Bauza has left in Grillo’s capable hands the Machito/Bauza book, thought to be one of the most extensive and complete examples of Afro-Cuban and Latin music available. With compositions stretching from the late 1930’s up to present day, this was practically one of Ray Barretto’s textbooks. True to form, the Machito Orchestra lived up to its legacy. I wanted to get up and dance from their first tune, the always enjoyable and infectious “Ba Ba Ra Ba Tiri.” This was followed by the Latin jazz classic “Sambia,” with an arrangement by Mario Bauza that continues to stand the test of time. A steady Eddie Montalvo holding time on congas could do no wrong. Just listening to this classic orchestra took one back to the home of Latin music, The Palladium. While horns blared through velvety sax lines, the rhythm section swayed with precision as tight as the drums they were playing, building to a crescendo with “Que Bonito es Puerto Rico” and another gem, “Cuban Fantasy,” as the Machito Orchestra set the stage for the musical banquet that was to come. This project, originally conceived by Ray Barretto and producer/photographer Harry Se pulveda, had as its objective a reunion of the many musicians who have passed through the ranks, configurations, and metamorphoses of Barretto’s various bands. Beginning in 1961 with his work for Riverside Records, Ray was considered to have impeccable taste in selecting the right musicians, arrangements, and more importantly, the right material. He was indeed an innovator and visionary constantly ahead of his time. The stage was set for the first performance, a ripping interpretation of “Guarare” featuring singer Ray de la Paz with Ralph Irizzary on timbales, long-time alumni Gil Lopez on piano, and Carlito Soto on bongos, bell and coro. The Ray Barretto fans at Lehman Center went wild. This number had all the elements – a great introduction followed by flowing vocals, horns that pull you in and a percussion break that sets you free, with a piano vamp for a hook that’s so infectious you just let yourself be swept up in the groove. De la Paz then settled things down dramatically with the tune “Propio Dolar” and picked it back up with a guaguancó by T. Curet Alonso, “Vale mas que un Guaguancó,” beautifully arranged to end the segment. The musical director on stage was Oscar Hernandez, Barretto’s pianist/ arranger from 1976 into the 80’s, and occupying Barretto’s chair was none other than “The Greatest Conguero on the Planet,” Giovani Hidalgo. Hidalgo played with “less is more” sensibility but kicked it up a notch when needed. He was spurred on by a horn section which included To Advertise CALL: 212-889-0853
trombonist Jimmy Bosch, with his “in-yourface” urban grit style, and Roberto Rodriquez Jr., son of the late Cuban trumpeter and long-time first trumpet for Barretto, Roberto Rodriquez, Sr. The next segment featured a new configuration. With his smooth delivery, vocalist Tito Allan seems, like a fine wine, to only get better with age. While Allan only recorded one album with Ray and went on to make his impact in the Latin genre, he will always be remembered for “Indestructible,” which he here performed with Hernandez on piano and Jimmy Delgado on timbales, another young alumnus of the Ray Barretto school. The arrangement spoke of lost dreams and broken bands only to come out on top again, as Ray Barretto always did, shot out of the gate at breakneck speed and gained momentum without ever letting go. A very spiritual number, “Hijo de Obatala,” featured a very tasty piano solo from Hernandez followed by Giovano Hidalgo’s rapid-fire conga solo. Playing on four congas, Hidalgo’s hands were a blur of activity – a tribute to Ray Barretto from the School of Changuito of Havana, Cuba. At this point, the Lehman Center was just one big Barrettofest coming to a boil. The joint was jumpin’ and it was time for one last change in the Ray Barretto configuration. Featuring the quintessential Ray Barretto band from the late 60’s to the early 70’s – Louie Cruz, a pianist/ arranger now residing in Florida, the great Andy Gonzalez on bass, John “Dandy” Rodriquez on bongos and bell, and the legendary timbalero Orestes Vilato – these cats recorded many of
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Ray’s classic hits and some went on to make history themselves. They began with a number about a conniving woman, “Quitate La Mascara,” that em ployed a great arrangement and swung so hard everybody was singing along. The always entertaining featured vocalist Adalberto Santiago was a joy to watch, listen, and learn from – a true singer. Second up was the classic “Cocinando,” a beautifully written arrangement easily up there with some of the best Latin jazz charts ever written. Horn solos open up this tune as Ray Barretto’s son Chris joined in on tenor sax, showing great promise and undoubtedly making a very proud man out of his father. Now it was the drums’ time to talk – and converse they did! The percussionists traded fours in classic Barretto style. You almost expected to see Barretto lift his red congas and bang them on stage passionately like so many times before. “Alma Con Alma,” a heart-tugging bolero and one of singer Adalberto Santiago’s signature songs with Barretto, showed that this cat still has chops after all these years. Chris Barretto added just the right touch on saxophone. “La Hi pocresia y la Falsedad,” a slow moving cha-cha, served as a valid testament to the hypocrisy and falseness in life and the business of music that Ray Barretto knew all to well. Now it was time to pull out all the stops and bring this evening to a boiling point. Beginning with “Pelota,” another Barretto standard, Andy Gonzalez laid down the bass line in a 2/3 Rhumba fashion with the percussion section and piano following suit. A vocal
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chorus and riffing trumpet appeared in the background, leading to a percussion and horn break that set the pace for lead vocals and a timbale solo. The master, Orestes Vilato, who’s polyrhythmic, eclectic yet tipico style at such a blazing tempo could well serve as the encyclopedia for timbales, incited the crowd to its feet. The closing selection for the evening was “Que viva la musica” (Long Live the Music), Latin music’s national anthem. Composed by Barretto and Roberto Rodriquez, this masterful piece began with an Afro-Cuban call on trumpet, as if to say, “Come one, come all and join my jam.” A thunderous roll heralded the call and its ensuing response. Here Giovani took a conga solo that made hair stand on end, deploying all that he had in his vast arsenal. The piece ended as it began, with the call of the trumpet and vocals chanting, “Que viva la musica,” wherever it may be. From the musicians to the selections performed and the words being expressed about this musical giant, A Tribute to “Mr. Hard Hands” proved to be an excellent production, executed with great thought and care to the Ray Barretto legacy. A huge five stars to Harry Sepulveda, Leah Grammatica, and the entire production team, as well as Brandy and Chris Barretto for their beautiful and inspiring words. Que viva la musica, que viva Ray Barretto.
Norman Hedman & Tropique Live at the American Museum of Natural History October 6, 2006 By Harry Maisonette Walking in the brisk fall New York air and entering “Starry Nights” at the Natural History Museum, all the stars were aligned in the Norman Hedman universe. The Rose Center Conservatory, cavernous in scope, seemed to transport one back to the Palladium or the St. George, where Latin and Latin jazz music first held court. The stars of this universe were Tito Puente, Eddie Palmieri, Ray Barretto and Joe Cuba to name but a few. As soon as you walked into this huge ballroom, you could feel the pulsing of the bass and the pounding ring of the percussion. Ah, I was home again courtesy of Norman Hedman and Tropique. And they were taking flight on a tune called “Flight of the Spirit,” a piece in 6/8 reminiscent of the Tito/Mongo/ Bobo groove. It proved to be a perfect vehicle for this setting. Smooth, flowing, clean and tight, the transformation was complete. I was in Latin jazz and Latin soul heaven. The band’s funky solos showed off this wonderful unit’s cohesiveness and polish, signaling what was yet to come. Hedman is a Renaissance Man if ever there was one: musician, composer, producer, and scholar; a hands-on-player who makes his own percussion instruments. With a polished attitude yet humble demeanor, Hedman allows you readily into his universe and says, “Welcome and enjoy the ride.” The next selection up was “Rundadar Dance,” written by vibraphonist Alexei Tsiganov. The percussion at first traded licks with pianist Misha Tsiganov, the other half 10
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of this brother team, and urged the band along. As they broke into a funky mambo jazz, flutist Craig Rivers took a tasty solo, followed by Alexei on vibes showcasing his tune. This is a cat that definitely has his clave together. A Latin-piano vamp followed, introducing us to Hedman on congas. His riffs, slaps and rolls grooved in the pocket and made for a smoking tune. “Walk in the Moonlight,” a piece written by Hedman in a bolera jazz groove with flute and sax blowing the harmonious rhythm, took the tempo down. A segue into a slow guaracha and back to bolero provided ample space for the vibes and piano to lay down flowing textured solos, meeting again for the melody to cap off this relaxing and beautiful arrangement. Hedman and the members of Tropique set the pace perfectly, constantly mindful of their audience while moving from one chart to the other. In return, an eclectic crowd of all ages and backgrounds applauded in all the right places. On “Cutting Loose,” bassist Ron Monroe and Hedman on congas laid down funky rhythms before the rest of the group joined in to create a mélange of Latin soul, jazz, and Caribbean funk highlighting the piano and vibes. This, I learned later, is what separates and defines Norman Hedman’s Tropique – his ability and willingness to incorporate different rhythms, genres and cultures into his music. The last selection of the evening was the self-titled “Hed-Theme,” inspired by Hedman’s travels, observations and daily rituals of living. The chart began with shades of the “I Love Lucy” theme, something Hedman remembers as one of his first personal experiences that has remained with him. The band heated up on this one as Norman laid down that Latin tumbao, followed by Willie Martinez – one of the hottest drummers on the scene today – on timbales. This lead into a ripping piano solo by Misha Tsiganov that flowed like a rhumba, transitioning into a fiery sax solo courtesy of Roger Byam while Monroe laid down the foundation and kept it going. As for the percussion, Martinez led the way. Demonstrating his funkiness and dexterity on timbales, rolls, flams, rimshots, and various combinations thereof erupted out of the drums, all placed perfectly on the 2-3 clave. The band was bounding along to a heavy descarga finish. As Hedman’s turn came to put his tag on the chart, he exemplified a command of the rhumba with a round of slaps and beats before riffing in a cohesive and exhilarating flurry reminiscent of his early mentor, Mongo Santamaria. The mark of a true drummer, Hedman made the drum talk
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in his own unique musical language. Norman Hedman & Tropique are a unit whose time has come. His ability to fuse different genres – Latin jazz, R&B, Latin soul –makes for an exciting yet unique style. If you run across this exciting group, don’t pass it up. Stay and enjoy the ride; you won’t regret it.
Willie Martinez
La Familia Sextet Live at Lenox Lounge, Harlem By Ron Scott Pulsating Latin music boiling in jazz isn’t usually on the menu at the Lenox Lounge but recently drummer/percussionist/vocalist Willie Martinez ignited a sparkling blaze to the Harlem club (in New York City) with his La Familia Sextet. Although La Familia is only two years old, they have earned international status performing a brand of music that Martinez likes to describe as “New York style Latin jazz.” The sextet included his regulars Misha Tsiganov, piano; Jennifer Vincent, bass; Renato Thoms, percussion; J. Walter Hawkes, trombone; Max Schweiger, baritone saxophone & flute. It’s difficult to believe that such a tight knit band has been working together for only two years. Their timing is perfect and their improvisational solos had everyone’s feet moving to the hypnotic beats of boiling Latin rhythms dancing in jazz melodies. This is the same working band that also recorded their latest CD “Family.” For his blazing weekend engagement Martinez called on the services tinez’s music propels audiences to instant move- Palmieri, Tito Puente and Tito Rodriguez. He of Venezuelan conga player Roberto Quintero. ment in the jazz tradition with fierce Latin over- started in Johnny Colon’s popular Latin band in “I have always liked the Lenox Lounge, it’s tones. Martinez slowed down the pace with the 70’s and played all the local spots including small and intimate, and has a great piano,” says “Plazo Traicioneros” a ballad composed by Luis the Garden of Roses in the Bronx, Club BroadMartinez. “I was really psyched about perform- Marquetti with arrangements by La Familia Sex- way, a now defunct Latin dance hall on the upances and the audience was definitely open to tet. The drummer steps out as a smooth balladeer per West Side of Manhattan that always had the jazz with a twist of Latin music.” He origi- on this one. The song is sweet but although its lines down the block in its hay day. Another spot nally played the club as a sideman with saxo- not sung in English one can tell something is not where Martinez kept dancers on their feet until phonist TK Blue’s band. Although this was his right in this love affair. As Martinez later exthe wee hours was the Corso, located on the first appearance with his own group it surely plained to me it’s about a man expressing his eastside of Manhattan. As Salsa began a downwon’t be his last at the club if the audience’s love for his lady but she doesn’t return his senti- ward swing in the mid 1990s Martinez made the loud response was any indication of how much ments leading him to believe her heart belongs to transition to Latin jazz. In that short span of time they enjoyed his set. another. The sadness comes in because unfortu- he has played with such notables as Charlie La Familia opened the first set with “And nately, he is right. Palmieri, George Cables, Chico and Arturo Make it Snappy,” a Martinez original recorded This song demonstrated that Martinez is a O’Farrill, Bebo Valdes, Arthur Blythe, Carlos on the “Family” CD. The entire band was mean multi-talented musician, who plays a mean drum “Patato” Valdez, and Norman Hedman’s on this up-tempo swinger that reminded me of and has vocal talent to match. It was Louis Arm- Tropique, where he serves as musical director. those days when “Salsa” music ruled the dance strong who stated, “you have to do more than Regardless of what Martinez plays you can clubs of the Bronx and Manhattan. The tune just play and instrument.” “Say Hey Ray” was be sure there will always be fiery horns, and kicked off with the horn section setting a swinganother up-tempo tune that was heavy on brass burning drums the heart of Latin music. “As a ing pace as Schweiger took the lead on his bari- with undertones of congas and Martinez out child I dreamed of the day I’d lead my own tone sax opening the door for a piano explosion front showing off on the drums hot and blazing group. The great orchestras of Tito Rodriguez, by Tsiganov, followed by hot trombone rhythms, are the words that come to mind. “I wrote this Tito Puente and Machito were what I aspired interceded by a conga serge with Quintero jam- tune for trumpeter Ray Vega,” said Martinez. to,” noted Martinez. “The Fania All-Stars were ming away. And that was just the first tune of “During the few years that I was with him we my heroes and Tipica ‘73 was the epitome of the evening! toured Europe and recorded together. I have what a great Latin band should be.” Visit his “When I think of melodies I get a sense of great respect for Ray.” website at www.williemartinez.com what the lyrics would sound like if there were Having recorded with Hilton Ruiz, he Gerald Wilson lyrics “And Make it Snappy” was the perfect played a few of the pianist’s original composititle,” stated Martinez. tions. “This engagement was dedicated to both With the Juilliard Jazz Orchestra Live Pianist Hilton Ruiz wrote the next song Hilton and Ray Barretto, two great musicians at Dizzy’s Club Coca Cola “Home Cookin’” and the name cookin’ describes who recently passed,” said Martinez. November 3, 2006 it all. Once again the band took off to destinaA native of Brooklyn, New York Martinez tions only traveled by adventurous musicians was a part of the East Harlem and Bronx Salsa and an audience looking for musical thrills. Mar- scene following the trail of Eddie and Charlie By Steve Jankowski To Advertise CALL: 212-889-0853
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I have a new role model. His name is Gerald Wilson. He is 86 years old and he appears as pleased and excited to be the front man for a big band as he was back in the 1960’s when I first heard him on an album entitled “Orchestra Portraits.” He recalls the smallest details in his anecdotes, still teaches at UCLA where he won the “Best Teacher award last year. Before working with the Bruins, he taught for 35 years at Cal State. And these recognized efforts to educate and inspire have proven to be as important as his musical legacy. He continues to be a precise conductor, an engaging raconteur, and one of our last connections to the band leaders and musicians who brought the big band idea to life in the 1930’s and 40’s. When I’m 86, I hope I can still remember my name. Considering his considerable teaching background, it is, therefore, extremely appropriate he would take a weekend and lead the Juilliard Jazz Orchestra. I’m sure the teachers of these young musicians gave their students and in-depth briefing about contributions of the man out front with a ball of white hair. They certainly played as if they understood. Gerald got things started with a blues arrangement he wrote while also playing trumpet for Count Basie circa 1948. The Count wanted an arrangement that started very soft, gave a lot of the guys in the band room to stretch out and concluded with a big, Jimmie Lunceford-like shout chorus. The Count figured he chose the right person to write this arrangement since the first band Gerald worked with was Lunceford’s Band—in 1938. Gerald was 18 at the time! I imagine the Count was very happy with the finished product. Unfortunately, I didn’t hear the title of this first piece, but in its early choruses, the staccato lead line played by reeds and horns in unison conveyed a harmonic construction that just might have been little ahead of its time in 1948. One can hear the beginnings of the surprising, slightly off center Gerald Wilson style, a style that draws you in and suggests you should listen a little more closely despite the fact the tune has a basic 12-bar blues structure you’ve heard many, many times before. In keeping with the Count’s request for solo space, a number of students got a chance to show what they can do. Pete Mazo on guitar, reed players Pat Secarus and Cheryl Cassidy and Chris Crenshaw on trombone, who, by the way, used a plunger to such a excellent effect I thought we had momentarily stepped into a time machine, all demonstrated strong instrumental and improvisational skills. To compliment their youthful exuberance, they gave us some definitely worth-the-trip ideas, and an early understanding of the steps one must take to build a listenable solo. Miyako on piano did an admirable Basie interpretation. and delivered some genuinely funny and coy remarks in the Count’s sparse style. “Dorian” was the next selection, and if you happen to listen to “Pure Jazz” on Sirius you will recognize this tune as one played at least twice every day. Gerald gently reminds us we’re talking about “Dorian” as it applies to a mode in music. And while Mr. Pitch and I have had our disagreements, this one, for what it’s worth, sure sounds 12
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in the C minor territory. From the stylistic point of view, you could put “Dorian” in modern big band jazz category as it moves aggressively between two tonal centers at a fast-paced tempo. The highlight in this arrangement was soloist Sean Jones who, as I understood it, is also a Juilliard alum and teacher. Sean stood on the far end of the student trumpet section I couldn’t help but notice the four student members of the trum pet section staring in wide-eyed appreciation as their teacher moved through octaves and ideas that can be only described as daunting by critics and intimidating by students. Sean displayed astonishing confidence when playing in the up per register, as he went from one screeching note to another without pressing a lot of valves. Call it slurring in the stratosphere. He also inherited Dizzy’s lungs because time and time again he gave us extended phrases in all ranges of the instrument. Tommy Gardner on tenor also contributed a gradually building series of lines until he reached the screeching, reed snapping area where harmonics live. We ultimately got the big finish that never fails to yield enthusiastic ap plause. Next came “Romance,” which was commissioned to celebrate the 40 th Anniversary of the Monterey Jazz Festival. It reveals the romantic side of Gerald Wilson and also serves as a solo vehicle for soprano saxophonist Victor Goines who is also a professor at Juilliard and the leader of this band. “Romance” begins with a series of whole note voicings accented by octaves on the piano. With the lights of the West Side sparkling behind the bandstand at Dizzy’s, the bittersweet sound and style of “Romance” created a sleek vision of New York after midnight complete with wet pave pavements and sad shadows. Victor’s sensitive sound on soprano sax enhanced and enriched the haunting, moody nature of the piece. One can almost see the characters of this “Romance” slow dancing as he moved effortlessly from one melodic idea to another. “Blues for Yunya” was written by Gerald for his daughter her cat. It’s a jazz waltz and being the respected educator he is Gerald attempted to give us the general basics on the jazz interpretation of ¾ time. In delivering his rational for this digression, he offered a quote from Fats Waller who once said, “It’s good to know what you’re playing.” I suppose that holds true for listening as well. Pianist Eric Reed joined the band for this one, and again we got to hear another jazz virtuoso/Juilliard mentor. A strong, supple technique along with bop and post-bop influences create the stylistic foundation for Eric who energetically combined inventive lines with chord voicing that touch on the blue heritage. Sean Jones returns and he doesn’t merely play a solo, he attacks this opportunity with passion and power, particularly during a pseudo “Flight of the Bumble Bee” sequence played an octave higher than written. Sean doesn’t wait for you to sit back and take notice, he reaches out and grabs you with his dominating sound making sure you understand waltz time can have a more fiery nature than one typically expects. Student tenor saxophonist Tommy Gardner hangs right there with the pros. He has a deceptively smooth sound which can gradually turn more traditional, melodically straight ahead ideas into cascading To Advertise CALL: 212-889-0853
phrases of dissonant tonalities that put us smack Sonny Payne in his blood and Basie fans will dab in the present. First in Eric is last out with know exactly what I’m talking about and why. octaves on piano that create a song of their own This young man assumes the pilot’s role with a before everything comes to a close. great deal of self assurance. The good news he Gerald told us it was Duke Ellington who also knows he’s not a drum soloist accompanied requested a new arrangement of “Perdido” and it by 16 other people. At some point during the 4 th is easily the best version of the song I’ve ever or 5 the number you suddenly realize why this heard. With reeds doing the melody and trom- group of young musicians sounds as rock solid bones doing the hits on the upbeat, “Perdido” as a professional band. The reason is in the back starts swinging hard right from the upper left behind the piano. He’s the guy holding the sticks hand corner of page one. Eric Reed leads the in his hands. way in with several smart and inventive choruses This was a satisfying and educational eveuntil Joe Temperly, another first rate musician ning for many reasons. First, it’s great to see and Juilliard teacher takes charge on baritone musicians under the age of 25 digging into and sax. With a tone as deep and rich as a cup of appreciating the jazz heritage Gerald Wilson Colombian coffee, Joe delivers his choruses with represents. For me, it was my first time seeing a glossy kind of sophistication, a technical and Gerald Wilson, a bandleader I’ve admired for creative approach that always seems to fit well over 40 years. And then there’s Wilson himself with anything written for or by Ellington. Gerald who has passed the requirements for “living really also shows his stuff as conductor as he legend” and now lives in a realm where people accurately accents the horn hits with a raised use the word “treasure” to describe his work and right hand and a short wave of the wrist much his life. like the way he’s done it for the past 60 years. It’s obvious Gerald Wilson never forgets a story John Pizzarelli & Bucky Pizzarelli or misses a beat. Highlights in Jazz By now, we all know that any of Miles at Tribeca Performing Arts Center Davis’ tunes written pre- Bitches Brew and espeOctober 19, 2006 cially those played and recorded by one of his quintets or sextets in the 50’s and 60’s can be excellent sources of material for larger groups. By Dimitry Ekshtut These tunes are often so simple yet so deep and rich there’s always enough harmonic material to The Tribeca Performing Arts Center hosted build a big band arrangement. As Gerald points John Pizzarelli’s swinging quartet on October out to us “Milestones” is tricky because instead 19th as part of its Highlights in Jazz subscription of the typical 36 bar structure this tune is 40 series. Pizzarelli is to jazz guitar what Harry bars. So you’d better be able to count. You Connick, Jr. has become to jazz piano – a talshould also be a pro when attempting to play at ented, marketable musician with a pretty face the tempo Gerald sets down. If you are familiar and voice unafraid of popular appeal. And like with the melody, imagine it being punched out Connick, Pizzarelli exudes a kind of charisma by airtight, hard-edged section work. We are that the jazz world has all but forgotten about. also treated to another astonishing solo by Sean His two sets – one with his quartet and another Jones on Trumpet in which he demonstrates an with his father, renowned rhythm guitarist acute sense of dynamics as he enters cautiously, Bucky Pizzarelli – served as a fitting reminder of letting us hear his softer more personal alter ego, why America fell in love with jazz in the first until finally inviting the nasty cat back in and place. pushing the envelope in terms of volume and A consummate entertainer, John Pizzarelli range. zipped through standard fare like “Pick Yourself “Milestones” concluded the evening. And Up” and “Jamboree Jones” with boundless enwhile several of the student musicians and soloergy. A smattering of George Shearing tunes ists were mentioned during the performance exposed the playful side of Pizzarelli’s boyish although one who wasn’t deserves to be. His tenor, while “If Dreams Come True” and “Ain’t name is James Jennings and he’s the drummer. I Good To You” showcased the band’s quick Let us just say, for the record, there is some attack, crisp time, and ability to produce concise To Advertise CALL: 212-889-0853
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John Pizzarelli
Live at Tribeca Performing Arts Center October 19, 2006 voice capable of surprising highs. Leonhart’s next composition, envisioning “coming through Customs having everything you shouldn’t have,” was as uproariously funny as it was musically ambitious. The duo’s playing served only to accent Leonhart’s tongue-in-cheek songwriting. Leonhart played while singing the melody, Gordon took a turn at the piano and even scatted in a high falsetto – all complimenting lyrics about the wild, exotic animals found on a passenger as he is trying to board an airplane. Their take on “Lester Leaps In” provided the hilarious yet strikingly musical high point of the evening, as Gordon and Leonhart sang each others’ parts while mimicking the act of playing each others’ instruments. Leonhart’s lyricized version of Eddie Harris’ “Freedom Jazz Dance,” with Gordon circular breathing on the didgeridoo, closed out this remarkable set. Pizzarelli returned with his father for a final series of guitar duets. They know each others’ playing intimately, probably better than anyone else, and have a terrific chemistry on stage. Their performance of “Body and Soul” exhibited the kind of light-hearted humor that had peppered the whole evening. On a great arrangement of “In a Mellow Tone,” John and Bucky engaged in a riveting chord soloing duet. Displaying an effortless swing through the most intricate of chordal passages, Bucky adroitly carries the mantle for his generation of great rhythm guitar players. In between songs, John told anecdotes about growing up on the stage with his legendary father, using his great dry humor and impersonations of Bucky to drive the stories home. The Pizzarellis came to play, but perhaps most im portantly, they came to have fun. For a long time jazz music was like this. It was serious stuff, of course, but there was plenty of room for shenanigans. Dizzy Gillespie, for instance, was a notorious prankster known to his fellow bandmates as much for his sense of humor on the bandstand as for his electrifying playing. In the big band era, Basie and Ellington made people laugh and smile nearly as much as they made them dance or tap their feet. Comedy has in fact always been an integral part of the music and the musicians that played it, having gone a long way in preserving the dignity, indiyet meaningful improvisatory statements. comedy for the benefit of an audience, though viduality, and independence of musicians who The most striking thing about John Pizza- more often than not the humor comes at the exused it as a coping mechanism for the pervasive relli is not his guitar playing or singing, both of pense of father Bucky. racism that they encountered throughout much of which are competent though by no means revoThe laughs continued into the second set, jazz’s history. It is when artists begin to take lutionary, but something else altogether. It’s his which featured the ingenious duet of bassist Jay themselves too seriously, putting their music attitude – his swagger – permeating through his Leonhart and trombonist Wycliffe Gordon. above such playful derision, that they lose their music, elevating it from the mundane to the truly These jesters delivered great music with wit and ability to connect with an audience. Such an exceptional. He understands and remembers panache, even outdoing Pizzarelli. An inventive artist lacks a sense of humility and will endear what has been lost on the majority of his conthough mild-mannered run through “Alone To- himself to nobody. Fortunately, none of the mutemporaries – whatever else happens, music has gether” displayed the surprisingly vast array of sicians at this concert need fear succumbing to to entertain and delight an audience, and this timbres the duo could produce. Leonhart, doing these vanities. cannot occur if a musician takes himself too his best George Benson imitation, sang along seriously. With Pizzarelli, the performance is with his walking bass lines while Gordon introone long stand-up routine, each song serving as duced the melody with an immaculate tone that the punch-line to a joke or some other good- had the pristine, milky consistency of white alanatured ribbing. Pizzarelli is not afraid to put baster. For Leonhart’s “Rhythm on My Mind,” himself on the receiving end of this musical Gordon sang the melody with a well-groomed 14
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TRIO He expresses a kind of beauty and depth rarely heard...his tone is simply awesome” - NY Daily News
BOB KINDRED, Tenor Saxophone JOHN HART, Guitar STEVE LaSPINA, Bass •
Brunch menu from $8.50-$16.50 $8.50-$16.50 Bar minimum $5 Sunday 12:30—3:30 pm
DEC 17
CAFÉ LOUP
DEC 31
105 West 13th Street Reservations: 212-255-4746
B.B. KINGS—Gospel Brunch SUNDAYS ONLY 12:30am—2:30 pm Featuring the World Famous Harlem Gospel Choir 237 West 42 42 Street (Midtown) Reservations: 212-997-4144 www.bbkingblues.com
CAFÉ LOUP—French SUNDAYS ONLY 12:30 pm—3:30 pm 105 West 13th Street (Chelsea) Reservations: 212-255-4746 www.bobkindred.com
THE IRIDIUM—Jazz Brunch SUNDAYS ONLY 12:00 pm—3:30 pm 99 7th Avenue South (Times Sq. area) Reservations: 212-582-2121 www.iridiumjazzclub.com
A Jazz Brunch Buffet in the Heart of Manhattan
THE GARAGE—Jazz Brunch SAT. & SUN. 12:00 pm—4:00 pm 99 7th Avenue South (West Village) Reservations: 212-645-0600 www.garagerest.com
CITY CRAB—Jazz Brunch SUNDAYS ONLY
JULES BISTRO—Jazz (French Restaurant) SAT. & SUN. 10:00 am—4:30 pm
235 Park Avenue South (at 19th Street) Reservations: 212-529-3800 www.citycrabnyc.com
65 Saint Marks Place (Bet. 1st/2nd—East Village) Reservations: 212-477-5560 www.julesbistro.com
COPELANDS—Gospel Brunch SUNDAYS ONLY 12:00pm to 4:00 pm
RARE BAR & GRILL—Jazz Brunch SAT. & SUN. 1:00 pm—5:00 pm
549 W 145th St (Harlem) Reservations: 212-234-2356 www.copelandsrestaurant.com
T G A Z A T E D A R
EVERY SUNDAY with
Barry Levitt’s Jazz Workshop & Brunch! 12:00—3:30pm Y O N L
9 5
$ 2 1.
1650 Broadway at 51st Street 212-582-2121 www.iridiumjazzclub.com
228 Bleeker Street (Bet. 6th Ave & Carmine St.) Reservations: 212-691-7273 www.rarebarandgrill.com
•
COTTON CLUB—Gospel Brunch SUNDAYS ONLY 666 W 145th St (Harlem) Reservations: 212-663-7980 www.cottonclub-nyc.com
CREOLE—Jazz & Gospel Brunch SUNDAYS ONLY 11:30 pm—5:00 pm 2167 Third Avenue (Harlem) Reservations: 212-876-8838 www.creolenyc.com
LENOX LOUNGE—Jazz & Gospel SUNDAYS ONLY 11:00 am—3:00 pm 288 Lenox Ave (above 124th St. in Harlem) Reservations: 212-427-0253 www.lenoxlounge.com
MoBAY UPTOWN—Gospel Brunch SUNDAYS ONLY 11:00am—5:00 pm 17 W. 125th Street (Harlem) Reservations: 212-876-9300 www.mobayrestaurant.com
NORTH SQUARE LOUNGE—Jazz Brunch SUNDAYS ONLY 12:30pm to 3:00 pm 103 Waverly Place (Corner Waverly & MacDougal) Reservations: 212-254-1200 www.northsquarejazz.com
Thank You! We appreciate your support in making Jazz Improv’s ® New York Jazz Guide the most widely read and largest circulation jazz monthly publication, at the crossroads of the jazz world. We wish you a healthy, happy, prosperous and peaceful New Year. Eric Nemeyer, Publisher Jamie Cosnowsky Director of Marketing, & Advertising To Advertise CALL: 212-889-0853
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Jazz Improv Magazine’s New York Jazz Guide
www.jazzimprov.com December 2006
15
clubs venues venuesclubs clubs venues venuesclubs clubs venues venuescl cl 107 West, 107th & Broadway, NY, www.107west.com City Café, 987 Stewart Avenue, Garden City, Long Island Joe’s Pub at the Public Theater, 425 Lafayette St & Astor 1050 Lounge, 735 Tenth Ave., Tel: 212-445-0149, Fax: 212(Exit M3W Off Meadowbrook Pkwy.) 516-222-1421. Pl., Tel: 212-539-8778, www.joespub.com The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills, John Birks Gillespie Auditorium (see Baha’i Center) 765-4478, 1050restaurant.com/m 1050restaurant.com/media/flash.html. edia/flash.html. 191 Restaurant, 191 Orchard St. (near Houston), Tel: 212Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: NY, Tel: 718-268-6704, www.thechurchint www.thechurchinthegardens.org. hegardens.org. Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), Tel: 212-420-0998, www.julesbist 982-4770. www.julesbistro.com. ro.com. 55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), Tel: 212Kavehaz, 37 W. 26th St., Tel: 212-343-0612, Fax: 212-343212-769-6969, www.cleopatrasneed www.cleopatrasneedleny.com. leny.com. Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010. 929-9883, www.55bar.com. 0612, www.kavehaz.com 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 Community Church of NY, 40 E. 35th St. (betw Park & Kitano Hotel, 66 Park Ave., Tel: 212-885-7000 or 800-548212.415.5500; www.92ndsty.org Madison Ave.), 212-683-4988, www.ccny.org. 2666, www.kitano.com. ABC - No Rio, 156 Rivington St. (betw Clinton & Suffolk), Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356. The Kitchen, 512 W. 19th St., Tel: 212-255-5793. Cornelia Street Café, 29 Cornelia St., 212-989-9319, Knickerbocker Bar & Grill, 33 University Pl., Tel: 212-228Tel: 212-254-3697, www.abcnorio.org. Aaron Davis Hall, City College of NY, Convent Ave., Tel: www.corneliastreetcafe.com. 8490, www.knickerbockerbarandgri www.knickerbockerbarandgrill.com ll.com Cornerstone Café & Bistro, 25 New Street, Metuchen, NJ The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, 212-650-6900, www.aarondavishall. www.aarondavishall.org. org. Alice Tully Hall , Lincoln Center, Broadway & 65th St., Tel: 08840; Tel: 732-549-5306; www.cornerstonenj.us www.knittingfactory.com Creole Café, 2167 Third Ave (at 118th), 212-876-8838. Kush, 191 Chrystie Street, New York , NY, 212-677-7328 212-875-5050, www.lincolncent www.lincolncenter.org/default.asp er.org/default.asp Allen Room, Lincoln Center, Time Warner Center, Broadway The Cupping Room, 359 W. Broadway (betw. Broome & L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952. La Belle Epoque, 827 Broadway (at 12th St.), 212-254-6436. and 60th, 5th floor, Tel: 212-258-9800, Grand St.), Tel: 212-925-2898. Cutting Room, 19 W. 24th St, Tel: 212-691-1900, La Lanterna (Next Door at La Lanterna), 129 MacDougal www.lincolncenter.org/default.asp American Museum of Natural History (Starry Nights), 81st Street, New York, 212-529-5945; www.lalanternarcaffe.com www.thecuttingroomnyc.com. Danny’s Grand Sea Palace, 346-348 W. 46th St., 212-265Laila Lounge, 113 N. 7th St. (betw Wythe & Berry), BrookSt. & Central Park W., Tel: 212-769-5100, www.amnh.org Anyway Café, 34 E. 2nd St., Tel: 212-533-3412 or 212-4738130 or 212-265-8133, Fax: 212-664-7952, lyn, NY, Tel: 718-486-6791, www.lailalounge.com Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New 5021, www.anywaycafe.com www.dannysgrandseapalace.com. Armour Hall (Wave Hill Cultural Center), 675 W. 252nd St., Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), Tel: 212-533York, New York, Tel: 212-246-2993, www.lemadeleine.com www.lemadeleine.com Le Figaro Café, 184 Bleecker (at MacDougal): 212-677-1100 Bronx, NY, Tel: 718-403-7450. 6212, www.jazzatdet www.jazzatdetour.com. our.com. Arthur’s Tavern, 57 Grove St., Tel: 212-675-6879 or 917Dizzy’s Club Coca Cola , Broadway at 60th St., 5th Floor, Tel: Le Jazz au Bar, 41 E. 58th St., (betw Madison & Park Ave.), 301-8759 www.arthurstavernnyc.co www.arthurstavernnyc.com m 212-258-9595, www.jalc.com www.jalc.com.. Tel: 212-308-9455, Fax: 212-838-7032, www.lejazzaubar.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; Dorian’s, 226 W. 79th (betw Bdwy/Amst), 212-595-4350 Lenox Lounge, 288 Lenox Ave. (above 124th St.), Tel: 212Downtown Music Gallery, 342 Bowery Ave. (betw E. 2nd & Phone: 973-378-2133, www.artsmapl www.artsmaplewood.org ewood.org 427-0253, www.lenoxloung www.lenoxlounge.com e.com Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th Les Gallery Clemente Soto Velez, 107 Suffolk St. (at RivingE. 3rd St.), Tel: 212-473-0043, www.dtmgallery.com eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 St., Tel: 212-875-5030, www.lincol www.lincolncenter.org ncenter.org ton St.), Tel: 212-260-4080 Bacchus Room at Bonafides Italian Ristorante, 60 2nd Ave, Elixir, 95 W. Broadway (at Chambers St.), Tel: 212-233-6171. L.I.C. Bar, 45-58 Vernon Blvd., Long Island City, NY, Tel: New York, NY 10003; 646-557-0565. www.bonafidesnyc.com El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212718-938-7711, www.licbar.com Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, 831-7272, Fax: 212-831-7927, www.elmuseo.org. Lighthouse, 111 E. 59th St., betw Park & Lex, 516-627-4468. The Encore, 266 W. 47th St., Tel: 212-221-3960, Lima’s Taste, 122 Christopher St., 212-242-0010 NY, Tel: 718-622-7035, www.freddysbackroom.com. BAM Café, 30 Lafayette Ave., Brooklyn, NY, Tel: 718-636Living Room, 154 Ludlow St. (betw Rivington & Stanton), www.theencorenyc.com. Enzo’s Jazz at The Jolly Hotel Madison Towers: 22 E 38th St. 4100, www.bam.org Tel: 212-533-7235, www.livingroom www.livingroomny.com ny.com Bar4, 7ave and 15th Brooklyn NY 11215, 718-832-9800, Location One, 26 Greene St. (Betw Canal & Grand), Tel: 212at Madison Ave. (in the Whaler Bar located in the lobby). Europa Club, 98-104 Meserole Ave. (at Manhattan Ave.), www.Bar4.net 334-3289, Fax: 212-334-3289, www.location1 www.location1.org .org B.B. King’s Blues Bar, 237 W. 42nd St., Tel: 212-997-4144, Louis, 649 E. 9th St. (at Ave. C), 212-673-1190 Brooklyn, NY, Tel: 718-383-5723, www.europaclub.com. EZ’s Woodshed, 2236 AC Powell Blvd, (bet 131st/132nd Sts) The Lucky Cat, 245 Grand St. (betw Driggs & Roebling St.), www.bbkingblues.com. Beacon Theatre, 74th St. & Broadway, Tel: 212-496-7070. 212 283-JAZZ (5299). Brooklyn, NY, Tel: 718-782-0437, www.theluckycat.com Best Western Hotel—Krystal Room, 173 Sunrise Hwy, Fat Cat, 75 Christopher St. (at &th Ave.), Tel: 212-675-7369, Makor, 35 W. 67th St. (at Columbus Ave.), Tel: 212-601Rockville Centre, LI. 516-678-1300. www.fatcatjazz.com. 1000, www.makor.org Blue Note, 131 W. 3rd St., Tel: 212-475-8592, Fetch, 1649 3rd Ave, New York, NY 10128, 212-289-2700 Mannahatta, 316 Bowery, New York, 10022, 212-253-8644; Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202, www.mannahatta.us www.bluenotejazz.com/newyork Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, Tel: Fax: 718-858-8256, www.fivespotsoulfoo Marie’s Jazz Bar, 51 W. 46th, bet 5th-6th Av, 212-944-7005 www.fivespotsoulfood.com. d.com. Flushing Town Hall , 137-35 Northern Blvd., Flushing, NY, Marriott New York at the Brooklyn Bridge, 333 Adams St., 718-403-7450, www.bluestonebarngri www.bluestonebarngrill.com ll.com Blue Water Grill, 31 Union Square West, Tel: 212-675-9500 Tel: 718-463-7700 x222, www.flushingtow www.flushingtownhall.org. nhall.org. Brooklyn, NY, Tel: 718-246-7000, Fax: 718-246-0563, Bodles Opera House, 39 Main St, Chester, NY 10918, Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), marriott.com/property/propertypage/NYCBK www.bodles.com Brooklyn, NY, 718-625-9339, www.frankscocktaillounge.com. McCabe’s Bar, 6534 Broadway (betw 259th & 260th St.), Bowery Poetry Club, 308 Bowery (at Bleecker), Tel: 212Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, Riverdale, NY, Tel: 718-549-9789. Megu, 62 Thomas St. (betw W. Broadway & Church St.), Tel: 614-0505, www.bowerypoetry. www.bowerypoetry.com. com. 718-622-7035 Brindisi, 111 Jericho Tpk, Jericho, NY, Tel: 516-876-8855 Galapagos, 70 N. 6th St., Brooklyn, NY, Tel: 718-782-5188, 212-964-7777, Fax: 212-964-7776, www.megunyc.com www.megunyc.com.. BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855Merkin Concert Hall, Kaufman Center, 129 W. 67th St. www.galapagosartspace.com. Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and 7882 x53, Fax: 718-802-9095, www.bricstudio.org (betw Broadway & Amsterdam), Tel: 212-501-3330, Brooklyn Public Library, Grand Army Plaza, 2nd Fl, BrookBleecker), Tel: 212-645-0600, www.garagerest.com www.ekcc.org/merkin.htm. Gishhen Café, 2150 Fifth Ave., Tel: 212-283-7699. MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, lyn, NY, Tel: 718-230-2100, www.brooklynpubliclibrary.org. www.brooklynpubliclibrary.org. Brooklyn Public Library, Bay Ridge Branch, 7223 Ridge Greenwich Village Bistro, 13 Carmine St., Tel: 212-206 NY, Tel: 718-488-8200 or 718-636-4100 (BAM). Metropolitan Café, 959 First Ave, New York, NY 10022, Blvd. at 73rd St., Brooklyn, NY, Tel: 718-748-5709. 9777, www.greenwichvi www.greenwichvillagebistro.com. llagebistro.com. C-Note, 157 Ave. C (at 10th St.), Tel: 212-677-8142, Harlem Tea Room, 1793A Madison Ave., Tel: 212-348-3471, 212-759-5600 Mirelle’s, 170 Post Ave., Westbury, NY, Tel: 516-338-4933. www.thecnote.com. www.harlemtearoom.com. Café 111, 111 Court St., Brooklyn, NY, Tel: 718-858-2806, Helen’s, 169 Eighth Ave. (betw 18th & 19th St.), Tel: 212Mixed Notes Café, 333 Elmont Rd., Elmont, NY, Tel: 516www.cafe111online.com. 206-0609, www.helensnyc.com 328-2233, www.mixednot www.mixednotescafe.com. escafe.com. Café Bar, 247 Eldridge (Houston, Stanton), 212-505-0955. Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ Mo-Bay Uptown, 17 W. 125th St., Tel: 212-876-9300, Café Carlyle, 35 E. 76th St., Tel: 212-570-7189, 08525, 609-466-9889; www.hopewell www.hopewellvalleybistro.com valleybistro.com www.mobayrestaurant.com Houston’s, 153 E 53rd St, New York, 10022; 212-888-3828 Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660 www.thecarlyle.com. Café Charbon, 170 Orchard St., Tel: 212-420-7520. Montauk Club, 25 Eighth Ave., Brooklyn, NY, Tel: 718-638Il Campanello Ristorante, 136 W. 31st St. (betw 6th and 7th Café Loup, 105 W. 13th St. (West Village) , between Sixth Ave.), Tel: 212-695-6111, www.ilcampanelloristorante.com. www.ilcampanelloristorante.com. 0800, www.montaukclub.com. www.montaukclub.com. Iridium, 1650 Broadway (below 51st St.), Tel: 212-582-2121, Museum of the City of New York , 1220 Fifth Ave. (betw and Seventh Aves., 212-255-4746 Café St. Bart’s, 109 E. 50th St. (at Park Ave.), Tel: 212-888www.iridiumjazzclub.com. 103rd & 104th St.), Tel: 212-534-1672, www.mcny.org. Jazz 966, 966 Fulton St., Brooklyn, NY, Tel: 718-638-6910 Musicians’ Local 802, 332 W. 48th St., Tel: 718-468-7376 or 2664, www.cafestbarts.com Café Steinhof , 422 Seventh Ave. (14th St., Park Slope S.), Jazz at Lincoln Center, 33 W. 60th St., Tel: 212-258-9800, 860-231-0663. NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973. Brooklyn, NY, Tel: 718-369-7776, www.cafesteinhof.com. www.jalc.org. Caffé Buon Gusto, 151 Montague St., Brooklyn, NY, Tel: Frederick P. Rose Hall Broadway at 60th St., 5th Floor Newark Museum, 49 Washington Street, Newark, New Jersey Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 718-624-3838, www.caffebuongustoonli www.caffebuongustoonline.com ne.com 07102-3176; Phone: 973-596-6550, www.newarkmuseu www.newarkmuseum.org m.org Cajun Restaurant, 129 Eighth Ave, Tel: 212-691-6174 Rose Theater, Tickets: 212-721-6500 New Jersey Performing Arts Center, 1 Center St., Newark, Cami Hall , 165 W. 57th, 212-978-3726, www.camihall.com. THE ALLEN ROOM, Tickets: 212-721-6500 NJ, 07102; 973-642-8989; www.njpac.org Carnegie Club, 156 W. 56th St., Tel: 212-957-9676, Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212New School Performance Space, 55 W. 13th St., 5th Floor www.hospitalityholdings.com. 242-0491, www.jazzgallery. www.jazzgallery.org. org. (betw 5th & 6th Ave.), 212-229-5896, www.newschool.edu. Carnegie Hall, 7th Av & 57th, 212-247-7800, Jazz Museum in Harlem, 104 E. 126th St., Tel: 212-348New School University-Tishman Auditorium, 66 W. 12th www.carnegiehall.org 8300, www.jazzmuseum www.jazzmuseuminharlem.org. inharlem.org. St., 1st Floor, Room 106, 212-229-5488, www.newschool.edu. Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West OrThe Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus New York City Baha’i Center, 53 E. 11th St. (betw Broadange, NJ; Phone: 973-736-4800, www.cecilsjazzclub.com Garvey Blvd.), Brooklyn, NY, Tel: 718-453-7825, way & University), 212-222-5159, www.bahainyc.org Central Park Summerstage, Rumsey Playfield, 72nd St. & Niagara, 112 Ave. A (at 7th St.), Tel: 212-420-9517. www.thejazz.8m.com Jazz Standard, 116 E. 27th St., Tel: 212-576-2232, 5th Ave., Tel: 212-360-2777, www.summerst www.summerstage.org. age.org. Charley O’s, 713 Eighth Ave., Tel: 212-626-7300. www.jazzstandard.net. (Continued on page 18) 16
®
December 2006 Jazz Improv Magazine’s New York Jazz Guide
www.jazzimprov.com
To Advertise CALL: 212-889-0853
Wynton Marsalis and Friends Heat Up The Holidays With Red Hot Holiday Stomp Concerts & Santa Art Exhibit The annual Jazz at Lincoln Center holiday Jazz at Lincoln Center box office on Broadway family concert series Red Hot Holiday Stomp at 60th Street, by calling CenterCharge at (212) brings New Orleans soul to holiday classics per- 721-6500 or via www.jalc.org. formed by Wynton Marsalis, Wess As part of the holiday festivities, Jazz at “Warmdaddy” Anderson, Victor Goines, Joe Lincoln Center will celebrate the 75th AnniverTemperley, Wycliffe Gordon, Dan Nimmer, sary of the modern-day image of Santa. The Reginald Veal, Herlin Riley, Don Vappie, modern-day image of Santa Claus - based on a Roberta Gumbel and special guests. The Red Hot painting commissioned by Coca-Cola - turns 75 Holiday Stomp concerts come to town on De- this holiday season. Legendary illustrator Hadcember 14, 15, 16 at 8pm and a matinee per- don Sundblom created the rosy-cheeked figure formance on December 16, 2006 at 2pm in Rose today’s traditionally accepted appearance of the Theater, Frederick P. Rose Hall. Tickets are $30, jolly old elf - in 1931 for a Coke holiday adver$50, $75, $100, $120 and are available at the tising campaign. In total, Sundblom created more
To Advertise CALL: 212-889-0853
®
than 40 pieces that feature the Coca-Cola Santa, which has become one of the most beloved cultural icons and an anticipated part of holiday tradition. To mark the 75th anniversary, from December 1, 2006 through January 2, 2007 at Jazz at Lincoln Center’s Frederick P. Rose Hall, Coca-Cola is presenting a free public exhibit featuring a wide selection of Sundblom’s original paintings from the Coca-Cola Santa collection. View them at the Peter Jay Sharp Arcade at Frederick P. Rose Hall or online by touring a virtual gallery at www.mycokerewards.com.
Jazz Improv Magazine’s New York Jazz Guide
www.jazzimprov.com December 2006 17
clubs venues venuesclubs clubs venues venuesclubs clubs venues venuescl cl (Clubs & Venues - continued from page 16) Night & Day, 230 Fifth Ave., Brooklyn, NY (at President St.), 718-399-2161, www.nightanddayrestaurant.com Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-797-1197, Fax: 718-797-0975. North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Tel: 212-254-1200, www.northsquarejazz.com Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), Tel: 212-505-8183, www.nuyorican.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and 6th Ave.), Tel: 212-840-6800, www.thealgonquin.net Opia, 130 E. 57th St., 212-688-3939, www.opiarestaurant.com Orbit, 2257 First Ave. (at 116th St.), Tel: 212-348-7818, www.orbiteastharlem.com Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Oro Blue, 333 Hudson St. (at Charlton St.), 212-645-8004 Pace Downtown Theatre, 3 Spruce St. (betw Park Row & Gold St.), Tel: 212-346-1715. Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 & 160 St.), 212-781-6595, www.parlorentertainment.com. Parlor Jazz, 119 Vanderbilt Ave. ()betw Myrtle & Park), Brooklyn, NY, Tel: 718-855-1981, www.parlorjazz.com. Patio, 31 Second Ave. (betw 1st & 2nd St.), 212-460-0992 Peddie School-Jazz Fridays Series, South Main St. Box A, Hightstown, NJ 08520; 609-490-7500; www.peddie.org/community/Capps/concerts.asp Perch Cafe, Brooklyn Perk’s, 535 Manhattan Ave, New York NY 10027, Phone: 212-666-8500 Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org. Philip Marie, 569 Hudson St. (at W. 11th St.), Tel: 212-2426200, www.philipmarie.com. Pianos, 158 Ludlow St., Tel: 212-505-3733. Porter’s, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878 Pourhouse, 790 Metropolitan Ave. (at Humboldt St.), Brooklyn, NY, Tel: 718-599-0697 Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ 07103. Phone: 973-639-7885 Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718718341-2233, jazz Wednesdays Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, NY, Tel: 718-768-0855 Pumpkins , 1448 Nostrand Ave, Brooklyn, 718-284-9086. Punch Lounge, 913 Broadway (betw 20th & 21st St.), Tel: 212-673-6333, www.punchrestaurant.com. Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope, Brooklyn, NY, 718-499-2627, www.PuppetsJazz.com Pure Lounge, 101 Seventh Ave. (4th & Grove), 212-620-4000 Push Café, 294 Third Ave. (at 23rd St.), Tel: 212-477-8100. Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220. Rare, 303 Lexington Ave (at 38th St.), 212-481-8439 Red Eye Grill, 890 Seventh Ave. (at 56th St.), Tel: 212-5419000, www.redeyegrill.com. Robin’s Nest Restaurant & Bar, 2075 1st Av, 212-316-6170. Rose Center (Amer. Museum of Nat. History), 81st St. (Central Pk W. & Col.), 212-769-5100, www.amnh.org/rose. Rose Hall, 33 W. 60th St., Tel: 212-258-9800, www.jalc.org. The Rosendale Café; 434 Main St., PO Box 436, Rosendale, NY 12472; 845-658-9048; www.rosendalecafe.com Roth’s Westside Steakhouse, 680 Columbus Ave., 212-2804103, Fax: 212-280-7384, www.rothswestsidesteakhouse.com. Ruby Lounge, 186 E. 2nd St. Tel: 212-387-9400. St. John’s Lutheran Church, 115 Milton St. (betw Manhattan Ave. & Franklin St.), Brooklyn, NY, Tel: 718-389-4012. St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377. St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728. St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200; www.saintpeters.org. Sanctuary, 25 First Ave. (above 1st St), Tel: 212-780-9786 Satalla, 37 W. 26th St. (bet 6th Ave. & Bdwy), 212-576-1155. Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, www.nypl.org/research/sc/sc.html. Shanghai Jazz, 24 Main St., Madison, NJ, Tel: 973-822-2899, www.shanghaijazz.com. Shelly’s, 104 W. 57th St. (betw 6th & 7th Ave.), 212-2452422, www.shellysnewyork.com. Showman’s, 375 W. 125th St., Tel: 212-864-8941. Shrimp Box on City Island, 64 City Island Ave, Bronx, NY, 718-885-3200 Sidewalk Café, 94 Ave. A, Tel: 212-473-7373. Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850; 203847-4558; www.silverminetavern.com 18
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Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY, Tel: 718-398-1766, www.sistasplace.org. Slipper Room, 167 Orchard St. (at Stanton St.), Tel: 212-2537246, www.slipperroom.com. Small’s, 183 W. 10th St. (at 7th Ave.), Tel: 212-929-7565, www.fatcatjazz.com. Smith’s Bar, 701 8th Ave, New York, 212-246-3268 Smoke, 2751 Broadway, 212-864-6662, www.smokejazz.com. Snug Harbor Cultural Center, 1000 Richmond Terr., Staten Island, NY, Tel: 718-448-2500; www.snug-harbor.org. Sofia’s Restaurant, 221 W. 46th St. (at Bdwy), 212-719-5799. Solomon’s Porch, 307 Stuyvesant Ave., Brooklyn, NY, Tel: 718-919-8001. South Street Seaport, 207 Front St., Tel: 212-748-8600, www.southstseaport.org. Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923. Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, Tel: 212-721-6500, www.lincolncenter.org. Stella Adler Studio, 31 W. 27th St., 3rd Floor, Tel: 212-6890087, www.stellaadler.com. The Stone, Ave. C & 2nd St., www.thestonenyc.com. Stonewall Bistro, 113 Seventh Ave., 917-661-1335. Sugar Bar, 254 W. 72nd St., 212-579-0222 The Supper Club, 240 W. 47th St., Tel: 212-921-1940, www.thesupperclub.com. Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker), Tel: 212-255-3626, www.sweetrhythmny.com. Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), Tel: 212262-9554, www.swing46.com. Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212-932-3228, www.symphonyspace.org. Table XII, 109 E. 56th St., NY, NY, 212-750-5656 The Tank , 208 W. 37th St. (betw 7th & 8th Ave.), Tel: 212563-6269, Fax: 212-563-0556, www.thetanknyc.org. Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762; www.tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), Tel: 212-777-7776, www.terrablues.com. Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org. Times Square Brewery & Restaurant, 210 W. 42nd St., bet 7th & 8th Ave., 212-398-1234, www.timessquarebrewery.com. Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358-7501, Fax: 212-358-1237, tonicnyc.com. Town Hall, 123 W. 43rd St., Tel: 212-997-1003. Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), Tel: 212-362-2590, www.triadnyc.com. Tribeca Performing Arts Center, 199 Chambers Street; 10007
[email protected]; www.tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600; www.trumpetsjazz.com Up Over Café, 351 Flatbush Ave. (at 7th Ave.); Telephone: 718-398-5413; www.upoverjazz.com Varjak , 923 8th Ave (betw 54th & 55th Sts), 212-245-3212 Village Vanguard, 178 7th Avenue South, 212-255-4037 www.villagevanguard.net Vision Festival, 212-696-6681,
[email protected]; www.visionfestival.org Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069 Phone: 908-753-0190; www.watchungarts.org Watercolor Café, 2094 Boston Post Road; Larchmont, NY 10538; 914-834-2213; www.watercolorcafe.net Weill Receital Hall at Carnegie Hall , 57th & 7th Ave, 212247-7800, Zankel Hall, 881 7th Ave, New York, 212-247-7800 Zebulon, 258 Wythe St., Brooklyn, NY, 11211; 718-2186934, www.zebuloncafeconcert.com Zinc Bar, 90 W Houston St., NY, NY 10012; 212-477-8337, www.zincbar.com Zipper Theater Lounge, 336 W 37th St. (Between 8th and 9th Aves.), Tel: 212-563-0485, www.zippertheater.com Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626 RECORD STORES Academy Records & CDs, 12 W. 18th St., 212-242-3000; www.academy-records.com Academy Record Store, 77 E. 10th St., 212-780-9166 Barnes & Noble, 675 5th Ave, at 21st, 212-727-1227 Barnes & Noble Citicorp Building, 3rd Ave & 54th St. Barnes & Noble, 4 Astor Plz, 212-420-1322 Barnes & Noble, 1280 Lexington at 86th, 212-423-9900 Barnes & Noble, 600 5th Ave, at 48th St, 212-765-059 Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859 Colony Music Center, 1619 Broadway; 212-265-2050; www.colonymusic.com Downtown Music Gallery, 342 Bowery (between 2nd & 3rd St), 212-473-0043 EZ’s Woodshed, 2236 AC Powell Blvd, (bet 131st/132nd Sts)
December 2006 Jazz Improv Magazine’s New York Jazz Guide www.jazzimprov.com
212 283-JAZZ (5299). J&R Music World, 23 Park Row (across from City Hall Park); Phone: 212-238-9000; www,jr.com Jazz Record Center, 236 W. 26th St., Room 804, 212-675-4480; www.jazzrecordcenter.com Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599 Princeton Record Exchange, 20 South Tulane St., Princeton, NJ 08542; 609-921-0881; www.prex.com Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks Pl.); Phone 212-505-1774 Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901; Phone, 908-277-3893; www.scotticd.com Tower Records, 692 Broadway (4th & Lafayette), Telephone: 212-505-1500 Tower Records Upper West Side, 1965 Broadway (across from Lincoln Ctr), 212-799-2500 Virgin Megastore, 1540 Broadway, 212-921-1020 Virgin Megastore, 52 East 14th Street, 212-598-4666 MUSIC STORES Charles Colin Publications, 315 W. 53rd St., 212-581-1480 Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave), 212-819-0576; Fax: 212-391-9250; www.mannysmusic.com Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-840-3057, 212-391-1185, www.drummersworld.com Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Phone: 646-366-0240; Fax: 646-366-0242; Repair Shop: Phone: 212-391-1315; Fax: 212-840-7224; www.robertoswoodwind.com Sam Ash, 160 West 48th St, 212-719-2299; www.samash.com SCHOOLS, COLLEGES, CONSERVATORIES 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500; www.92ndsty.org Brooklyn-Queens Conservatory of Music, 42-76 Main St., Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450. Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, 718-622-3300. www.brooklynconservatory.com Charles Colin Studios, 315 W. 53rd St., 212-581-1480 City College of NY-Jazz Program, 212-650-5411, Columbia University, 2960 Broadway, 10027, 212Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163, Dix Hills, NY Greenwich House Music School, 46 Barrow St., Tel: 212242-4770, Fax: 212-366-9621, www.greenwichhouse.org Juilliard School of Music, 60 Lincoln Ctr; 212-799-5000 LaGuardia Community College/CUN College/CUNII, 31-10 Thomson Ave. Long Island City, 718-482-5151, Lincoln Center - Jazz At Lincoln Center, 140 W. 65th St., 10023, 212-258-9816, 212-258-9900, Long Island University - Brooklyn Campus, Dept. of Music, University Plaza, Brooklyn, 718-488-1051, 718-488-1372, Manhattan School of Music, 120 Claremont Ave., 10027, 212-749-2805, 2802, 212-749-3025 New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ 07305; Phone: 888-441-6528 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York University-Jazz/Contemporary Music Studies, 35 West 4th St. Room # 777, 212-998-5446, 212-995-4043 Princeton University-Dept. of Music, Woolworth Center Musical Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Queens College - Copland School of Music, City University of NY, Flushing, 718-997-3800, Rutgers Univ. at New Brunswick , Jazz Studies, Douglass Campus, PO Box 270, New Brunswick, NJ, 908-932-9302, SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY 914251-6300, 914-251-6314 Turtle Bay Music School, 244 E. 52nd St., 212-753-8811, William Paterson University Jazz Studies Program, 300 Pompton Rd, Wayne, NJ, 973-720-2320 RADIO WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Phone: 973624-8880; Fax: 973-824-8888; www.wbgo.org ADDITIONAL JAZZ RESOURCES Louis Armstrong House, 34-56 107th St, Corona, NY 11368, 718-997-3670, www.satchmo.net Big Apple Jazz, 2236 7th Ave, New York, NY 10027; 718606-8442. www.bigapplejazz.com Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595 Jazzmobile, Inc., 154 W. 126th St., 10027; 212-866-4900; www.jazzmobile.org Jazz Foundation of America, 322 W. 48th St. 10036; 212245-3999; www.jazzfoundation.org New Jersey Jazz Society, 1-800-303-NJJS; www.njjs.org New York Blues & Jazz Society, www.NYBluesandJazz.org
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INTERVIEW
Could you talk about the first recording you and John Hicks did? JI:
Wynton Marsalis
was the title of the first co-collaborative recording that John and I did. EW: Luminous
Interview By Eric Nemeyer Transcribed by: Dave Miele
This is an excerpt from the comprehensive interview with Pat Metheny that appears in Jazz Improv® Magazine, Jazz Improv: Could weVolume talk 4,aNo.little bit asWayne Shorter went toto 4, available a back issue. To subscribe JazzatImprov® Magazine: and to buy back issues, call 1about the educational scene the moment? sity. 888-472-0670, online at www.jazzimprov.com. How does the development of jazz inor these
New York Univer-
academic settings versus learning on the JI: And it’s a life-long pursuit. We’re albandstand, as has been historically the ways educating ourselves, as we go along, case—the way you came up, the way I came in order to develop. It’s not just a short-term up—impact an improviser’s development in pursuit. discovering their own voice, which is one of Ad the unique elements that we know distin- Rez WM: Right, but the kind of anti-education Abbasi guishes us from one another? attitude has created a kind of willful ignorance that hurts our music in a way. It’s not Wynton Marsalis: I feel that you need to so much that the school education keeps have both because if you think of guys like people from learning to play; it’s about the Don Redman, a lot of jazz musicians were quality of the school education. I think we conservatory-trained; in it’s the earliest need to question our educational philosoyears of jazz. Don Redman is a great exam- phy, not whether or not the institution of a ple of someone who had conservatory train- school keeps you from playing. The thought ing. Then you go to people like Booker Lit- that groups of people coming together over tle, Lee Morgan; they attended Julliard. a subject could somehow keep you from Miles went to Julliard. They might not have learning how to play is one of the dumbest stayed for a long time, but they had already thoughts ever. When we see a lot of young gone up in the educational system. They musicians going to school and not being
I was a product of my generation and ignorant. There was a big anti-tradition vibe when I was coming up. We weren’t a part of jazz, we thought. To be ignorant was considered to be a plus… philosophically, I didn’t understand the importance of knowledge. ” “
WM: I think that it’s hard in jazz, too, because once you start to question the meaning of a thing, it’s very hard to teach it. If I tell you, “This is a basketball, but you don’t have to dribble,” it’s going to be very difficult for me to teach you how to play it. A philosophical guy could write a great article about it. You know what I mean? For me to tell you that the blues is not significant; for me to tell you that swing is not the major rhythm of jazz; for me to tell you that im provisation of a harmonic form is not im portant; for me to tell you all of the central things of this music are no longer significant…now I’m going to teach you something about playing it, my authority as a teacher is seriously undermined. JI: Absolutely. The foundation and the history is the essential part of being able to move forward.
had gone through high school band programs. They had taken lessons. Even Dizzy, as a professional, took lessons from Joe Custad who was playing first trumpet in the St. Louis Symphony. All the great programs that all the great musicians came through. I actually am interested in, with our education department, developing a brochure on the education of the great jazz musicians. Because one of the great misconceptions about the music is the kind of Louis Armstrong model or the Duke Ellington model—even though Duke did have theoretical education with piano lessons and things like that. I think a lot of times people think that that is the typical jazz musician’s story and it’s not. Coltrane went to the Ornstein School of Music. We could go on and on. I think To Advertise CALL: 212-889-0853
able to play, it’s not because of schoollearning. It’s because of the way the institutions are teaching them. Many times they teach a student stuff like what scales to play on chords. That stuff has absolutely nothing to do with learning how to play. They should be teaching a melodic basis and the meaning of the swing rhythm. Things that have much more significance to our way of playing.
WM: Right. These are all things that we’ll straighten out as we become more intelligent about how we educate. We’ll begin to identify that the reason we’re not successful, many times, with producing students of a high quality is because we’re teaching the material incorrectly, not because of the fact of education. I think for jazz musicians, the bandstand, the jam session are also important. A lot of time hustling is important—go JI: I agree. I think another part of it too is out and hustle your gig. There are a lot of everyone taking responsibility, no matter kids who come up who create their own how young one is, to be able to learn and opportunities. I’m thinking of people like determine some sort of responsible direction Eric Lewis and Ali Jackson, Brandon Lee. and path, even if somebody’s not handing it A lot of the younger musicians on the scene, to you on a silver platter. they grew up playing in clubs in their re(Continued on page 20) ®
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www.jazzimprov.com December 2006 19
spective cities and they continue to make things happen. I know I go to clubs sometimes in cities and I’ll see a kid sixteen or seventeen sitting in, playing. Sure. Can you talk a little bit about how your association with Art Blakey developed the kind of experience and feeling you had as you took over the trumpet chair that was, of course, held by such stylists as Clifford Brown and Lee Morgan and Freddie Hubbard and so-forth?
jobs since I was eight years old, so I wasn’t looking to be hollering and screaming like a child. I didn’t mind working, but philoso phically, I didn’t understand the importance of knowledge.
JI:
Well, I had the opportunity to play with him. He gave me the opportunity to work and to learn how to play. I have to say, I was ignorant of that tradition when I played with him. I grew up in the seventies. I knew some jazz records and I loved jazz. I WM:
“
I like pandemonium and noise. My mind is always quiet, when it comes to music. ” had been around my father. I knew more of the New Orleans tradition of playing. Freddie Hubbard was the one everybody listened to in the seventies. Some Miles, some Clifford Brown, but I didn’t really know the history of Art Blakey’s trumpet chair. I didn’t know the records with Lee Morgan or Woody Shaw. I had heard the record with Clifford once or twice; I didn’t really know those recordings. I didn’t actually know the tradition of the chair. I learned the tradition of the chair until after I left the band, actually. When I was in the band, James Williams used to always tell me: “You need to learn the tradition of the chair and you need to learn the tradition of this band.” I was a product of my generation and ignorant. There was a big anti-tradition vibe when I was coming up. We weren’t a part of jazz, we thought. To be ignorant was considered to be a plus. So, even this man was telling me to learn, I was so much a part of that kind of generational ignorance, I didn’t feel it was important. If you listen to my playing, it’s obvious I didn’t know that tradition. It wasn’t until after I left the band that I understood I had a golden opportunity to learn that tradition. I wasn’t aware of the importance of knowing the tradition. It wasn’t that I felt I knew everything. I’ve held 20
®
It’s interesting that you espouse that. I agree with you. To me, one of the essentials about making this music is the long-term commitment and that in order to develop through your lifetime you really have to commit yourself. Somebody can have immense talent but ultimately it’s the work that we all do to develop that over a period of time. Sometimes something that happens quickly fades just as quickly. How is the process of making music different or deeper now than it was when you were creating in situations such as Art’s and Herbie Hancock’s quartet and your own small groups versus the array of program settings and corresponding instantaneous adjustments you need to make with which you’re involved today? JI:
mind is focused on that. I grew up with a lot of brothers in my house; a lot of noise. I was around a lot of people. I like people. I like noise. I don’t need to be in any special setting. I’ve never had writer’s block. All I need is a deadline. I’m always late [laughter] but it’s not because of a block. I just start late. I like the pressure. I like pressure in general. Pressure just makes something come out of you. Even as a kid, when I was playing ball, I’d like there to be pressure. Certainly that tension gives you the im petus to be able to resolve the tension into something else, until the next tension comes along. JI:
It makes it more fun. It’s just fun. We’re out here for a certain amount of time and we hope we have a good time. Do your thing. I’ve always been lucky to have great musicians to play with. WM:
There are many people writing these days. Many times people write tunes based on a series of chord changes and the melody isn’t very compelling. I know for myself, I agonize over melodies from time to time because I want to write something that has some kind of meaning and is memorable— something a lot more than just a bunch of chord changes with something I slopped together. Could you talk about the importance of melody and how that process works for you? JI:
WM: Not
that much. My knowledge of the music has expanded. When I was nineteen or twenty, I was basically trying to figure out what was happening. I was lucky to be on recordings on that time. I had a kind of feeling for the music and I liked it. It’s very different now. I’ve had years—an opportunity to read and study and meet so many people and be a part of the American cultural scene for so many years. To see students come up, and always be out on the road, and hear people and play with them and play at jam sessions all over the world. So my understanding of what’s going on is very different, of course, from what it was when I was a kid who just left New Orleans for New York. You’ve composed and arranged quite a bit. Composing and arranging are often creative endeavors which for me, and others I’m sure would agree, involve a certain modicum of quiet and introspection. How do you quiet your mind and remove outside distractions and stress and so forth, which sometimes are useful in the creative process, to be in a mindset to create. How do you structure your time to compose and arrange? Do you do some jotting down of ideas that you use later? Do you experience writer’s block? JI:
WM: No,
I never have that. I like pandemonium and noise. My mind is always quiet, when it comes to music. I don’t mind noise—my phone going off, people all around me—it doesn’t affect me really at all, when I’m working on something. My
December 2006 Jazz Improv Magazine’s New York Jazz Guide
www.jazzimprov.com
The melodic and the rhythmic imprint of music—I’ve tried to deal with melodies that come from my New Orleans heritage and from the American tradition in general. I have a melody; “All Rise” [sings the melody]. That was a tune my great uncle would sing to me. I’ll write songs that are real sim ple, like nursery rhyme songs, like a song I wrote called “Free to Be”. Sometimes I use just thing in the American songwriting tradition, like a song I wrote called “D in the Key of F”. Things come from different places. I was lucky growing up in New Orleans—there’s a lot of melody down there. From church music to music we played in parades, hymns, street songs, the blues—I try to call on all of that tradition. One of my challenges was to develop a base of learning in the American folk tradition and in an American melodic tradition, so that my music would have those elements in it. To learn how to write on triads—growing up in jazz, you’d be writing what I call “New York Tunes” [sings a post-bopish melody]. So I started off with that kind of tradition, but I noticed that music doesn’t have that WM:
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much melodic meaning. So I started to learn, in my twenties, how to write songs that more reflected how I grew up and the music I knew. I was lucky coming from New Orleans because I was always around a lot of different kinds of music. I remember the first song I wrote like that was called “In the Afterglow” [sing the melody]. I tried to write a melody I could just sing and have it stand on its own.
Creativity...makes me feel like Creativity...makes I’m a child all the time. It makes me have fun with my own kids and it doesn’t make a difference whether I’m playing ball, or teaching a class or if I’m dealing with a very serious subject...I approach all of those things the same way. I’m just having a good time…”
“
Absolutely, yeah. Could you you talk a little bit about the immense responsibility with Jazz at Lincoln Center, to represent them in the areas of marketing and management and fundraising and sponsorships? All these things going on—the many non-musical activities—how does all this impact your focus on the music and your creativity? JI:
Your creativity is something that you’re given. It’s a gift. It’s like clownin’, crackin’ jokes, reading stories, dancing; it’s something that’s in you or it’s not. You can’t work on your creativity. You can work on things, but your creative impulse and your desire to be creative and make up things and have a good time with things, that’s in you. For me, nothing affects that. That’s what I like doing. It makes me feel like I’m a child all the time. It makes me have fun with my own kids and it doesn’t make a difference whether I’m playing ball, or teaching a class or if I’m dealing with a very serious subject, or something that’s just a joke. I approach all of those things the same way. I’m just having a good time, and that’s it. I’m going to be creative. I’m going to clown, act crazy. It’s just how I am. Nothing will change that or make me not be like that. I’m just that way. WM:
That’s a healthy thing, too. One of my favorite quotes is: “You should grow old in your child-like qualities, not your adult-like qualities, Heaven forbid.” JI:
Right. Just have a good time. I try to pass that down to my own kids. You were given your creativity, that’s a gift. Everybody has creativity; we are all given that gift. Respect your creativity and develop it and enjoy it and enjoy the creativity of other people. Just like you have it, other people have it too. All of my jobs are one job and ultimately it’s about the human spirit—it’s not even about jazz. I believe in it, so it’s never too much work for me. I don’t work on the clock and I don’t work for money. I never did that. My entire life, it’s always been the same. It does not make a difference to me what’s said about me, whether it’s true or it’s false. My mind is made up about what I’m about. Now I’m a man, I’m forty-five. I’m not a boy. I was nineteen for twenty years. WM:
JI:
And suddenly you’re forty-five.
And I love it. I’ve been out here the whole time just enjoying myself and trying to be a posiWM:
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tive influence on people.
going to do what you will want them to do, but they have a path that they’re on. You JI: And you are. And age is just in your don’t know what that is. You’re a part of head. their path. You’re a part of their story. A lot of times you look at somebody as if they’re WM: Tell that to my jump-shot., in my a part of your story. But for that student, basketball game. you’re a part of their story. So, you try to empower them with tools that will help JI: [laughs] Could you talk a little bit about them to do what they want to do. commitment and staying on the path of mastery versus how society really creates a JI: That’s a profound understanding. Many prodigious conspiracy against the commit- people look at it the opposite way; you ment that’s essential to play and develop as really have to take yourself out and be in the an artist and create this music? mode of giving instead of taking, which is really a healthy thing, I think. You’ve really been a model for that, Wynton. WM: You know, I don’t think it has anything to do with society or anything else, to be honest with you. It’s all about you and WM: I don’t know. You know, man, we’re how you feel about something. You wake all out here doing our thing. up every day and you choose the things you want to do. It’s up to you to do it; you don’t JI: Could you share some of the sources of have to do it. If you have that feeling about encouragement and positive thinking that you experienced that were instru“ A lot of times, people ask me mental in if I think rap music is valid. It’s not up to me your abunto determine the validity of rap music. dant success If it’s out here, it’s obviously valid. ” early on, but also, more importantly, something do it. If you don’t, don’t do it. some of things that are inspiring you today? It’s about you and yourself. It’s like with Philosophies or authors and so forth? your old lady, you know? If you want to be committed, be committed. If you don’t, WM: For me, all the older musicians supdon’t. It’s a very simple equation, you ported me in an unbelievable way. Not so know? And if you are committed, you get much in the press, but Elvin Jones, I was the benefits that come from being commit- always welcome in his house all hours of ted. And if you’re not committed, you get the night. Ed Bradley, he’s gone now. Just the benefits that come with that. There are the amount of time that he would spend just benefits to both. To not be committed teaching alone. Just what he would tell me. means you have more time to bullshit Dizzy. Art Blakey. Gerry Mulligan. A long around. If you like doing that, do it. It’s not line of musicians that I would talk to all the a crime. If you’re serious, you get the bene- time that would say: “Do this that and the fits of being serious. other. Check this out.” Joe Williams, Freddie Green. The type of love and support John Lewis showed me—I was like his son. JI: With all the teaching and interaction that you’ve had with so many types of people, The amount of information they were willso many different age groups and back- ing to give me. The way they took me in. grounds and levels of interest in the mu- The way that they loved me. Frank Foster, sic—or non-interest; what kinds of under- Jimmy Heath. I could go on and on, I could standings about human nature have you name so many musicians. Whenever I learned or developed as a result of your called them, whatever I needed. “Here’s journey from your times as an emerging what you need to learn. Study these things. artist on to your current leadership role? Learn this, work on this. This is a problem with your playing.” Dizzy told me stuff. He WM: I think I’ve learned that the most im- was very intellectual, very intelligent. On portant thing you can do is to empower an- and on. My great mentors I had: Albert other person to be themselves—even if Murray, Stanley Crouch. what they’re going to do is going to be the opposite of what you do. If you’re teaching JI: One of the things I really admire about someone, you don’t want to teach them a you is how I’ve attained this extremely high dogma. Many times your students are not visibility and in the short time we’ve been 22
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speaking—because we’ve never spoken before—I really get a sense of how committed you are to the music. The original burning fire we each experience when we were first magnetized by this music. For me it was like Thad Jones, Buddy Rich, Joe Henderson. You don’t lose that. You’ve maintained it and also gotten to a very high level with it and in this conversation, I detect this incredible level of commitment without compromising or selling out or whatever you want to call it, to really dedicate yourself to other people. I just had to give you that compliment because I think it’s well deserved. I appreciate that. It’s the life I like to live. I saw my daddy doing it with teaching. I teach kids, I stay up, I go to jam sessions, and I play. The lord has blessed me to do what I want to do with great musicians. I don’t have a complaint. The musicians looked out for me so much. So many people have looked out for me in so many ways. With Jazz at Lincoln Center, start with my unbelievable staff. Mary, she’s been working seventeen years. Herlin Riley. Me and Herlin worked sixteen, seventeen years together. I could go on and on. It doesn’t make a difference where I fall. Marcus Roberts, Wycliffe Gordon. Students we brought up, I was Walter Blanding’s band instructor. Everywhere I turn the level of dedication that they’ve had to me and to this music and the love that they’ve given me, to be there for me. It’s been an unbelievable blessing. WM:
You know, the music is one thing, but in this business, it’s really important to build relationships, which is where some people either shoot themselves in the foot or fall short. Maybe you could talk about the im portance of and how to build relationships? JI:
A relationship is very simple. You need to treat the people they way you want to be treated. If you smile at somebody, they’re going to smile at you. Sometimes I’ve fallen short. I’ve learned a lot in this job. Even now, I could do a better job of keeping in touch with people. The basic feeling you give someone, they will in most instances, ascribe to give that same feeling back to you. I see you on the elevator and you smile, I’m going to smile at you, man. You frown at me; I’m going to frown at you. You might frown and I might still smile at you. It’s just basic manners 101 of how to treat people and deal with them and when you feel short of that to recognize and try to do better the next time. WM:
JI:
I think Dan Borsen, in the Library of To Advertise CALL: 212-889-0853
Congress said: “One of the greatest obstacles to discovery is not ignorance but the illusion of knowledge.” How have you ex perienced or dealt with this, or do you have any comments on that? I think that our music helps to remove a lot of that. Jazz music is something, man. WM:
JI:
It’ll make you honest in a hurry.
You’re always thinking about what you need to do to improve. Of course you still have a lot of illusions, that’s just a part of life. WM:
Regarding the Ellington High School Jazz Band competition, I understand the value of band competitions and contests and how they create interest and involvement among students—the prospect of winning things—but in times gone by some stylists might not have been perceived as anything special or won anything because of their unique approach involving subtlety or economy of notes. How does the aspect of com petition impact building the identity and the value of the music as an artistic endeavor as opposed to an athletic sport? JI:
a festival. Americans love competition. We obviously valid. Or people ask if its music. love to compete. The older jazz musicians It’s obviously music. I have a basketball were always talking about battles. I heard game. It may not be a good game, but don’t Sweets Edison talk about when Basie bat- come to me and tell me I’m not playing tled Benny Goodman. When they battled basketball. It’s just what it is. It’s not up to Duke. Cutting sessions. It’s a part of the me or you to determine what is. lure and the tradition of our music. Competition is a part of it and it’s a fun part of it. I JI: Yeah, the moment you let go of being happen to love competition. It’s not for eve- the general manager of the universe, it rybody. Music can accommodate all kinds seems like the whole universe opens up for of personalities. Some people don’t like to you. be competitive, but they can play great music. Many can be very competitive and play WM: I have a thing that is what I believe to great music. It just depends on the person. be jazz. That is what I believe it to be. You WM: You know we have a competition and But there’s so much competition in our cul- might believe it to be something else. There ture and our way of life, and its fun. It does- are many different people on earth. It’s like n’t have to be mean-spirited. It depends on what I was saying about our students. Ed Bradley the spirit you bring to the competition. If it There’s a reason our students are not learn1941 - 2006 means more to you than what it actually is; ing how to play as good as we want them to if you have it out of proportion to the reality play. It’s not because they’re going to of life, then it could be a bad thing. The school, it’s because of what they’re being only time it’s that serious a thing is when taught when they’re in school. it’s a war. That competition is very serious. But a battle of music on a horn is not that JI: Talk about the Essential Ellington Jazz serious a thing. A basketball, a football Band competition? game, is not serious. It’s a game. It’s a sport. You want to win. I want to play for a WM: It’s just a fantastic festival/ score. I want to shake your hand after you competition. There’s a great history and beat me and say, “Good game.” A chess tradition. Kids love it as well as parents. We game, you want to win. But part of winning have so many letters that speak on our beis losing. It’s like life. You’re going to die. half. So many band directors love it. They That makes life fun. love to come back. Our entire staff volunteers. We’ve been doing it for many years, JI: And it gives you that pressure that we we love doing it. We produce a lot of stuwere talking about before, to get things dents who can play. We’ve seen so many “Ed Bradley was a great American, one of done. great things from our students. As of now it our definitive cultural figures, a man of unis exclusively limited to Duke’s music. We surpassed curiosity, intelligence, dignity WM: You should have a good time in your may expand it, but we love his music. and heart. We of course are shocked and experiencing that unspeakable grief that time out here. Your choices are your own. always attends the finality of the death of a The problem comes when someone thinks JI: Is there anything else you’d like to share loved one. We have lost a trusted friend that there’s one way—they think something with our readers? and mentor. Our nation has lost a voice of is the way it should be. There are many integrity and wisdom. We love him and ways that a thing is. That is the reality. A lot WM: Just tell them to come down and visit miss him and it will always be that way.” of times, people ask me if I think rap music us at Lincoln Center. Come be a part of it. is valid. It’s not up to me to determine the They’ll have a good time. ♪ -Wynton Marsalis, validity of rap music. If it’s out here, it’s Artistic Director of Jazz at Lincoln Center
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INTERVIEW
Steve Tyrell Interview By Eric Nemeyer
Jazz Improv: Could you talk about the evolution of your recent recording of Disney standards.
important to her.
Steve Tyrell: That started about two years ago, maybe longer. First of all, I kind of started my career as a performer singing the standards with Disney, because I sang “The Way You Look Tonight” in Father of the Bride, which was a Buena Vista film. And it was really kind of an unusual situation where I was the music producer of the movie. I did this little tune for the reception and everybody loved it and they put me in the movie. Then the movie tested really well and that particular scene tested really well with all the audiences that they showed the movie to. So, mine got singled out as who’s singing that song and so they decided to put it over the end title. Anyway, to make a long story short, it’s a very unusual thing. Usually, the music producer doesn’t end up singing in a 100million dollar movie [laughter], you know what I mean? And so I started with Buena Vista is what I’m trying to say. So I have fans over there, Chris Montan, especially, at the time was the head of Disney music and then he went on to be the head of Disney animated features and was responsible for The Lion King and Beauty and the Beast and Beast and all their hits. A few years back, I got an idea when I was working for the Steven Spielberg film, An , to take the little song that the American Tail mice sang in the movie, the character-driven song, and make a version of it that would go over the end title. Before that, people don’t really realize this, but before that that hadn’t been done in animated features. You look back on it now you don’t realize it, but “Somewhere Out There” from an American an American Tail was Tail was the first one and that was my idea. So I had a little bit of a history, I had a history of taking character-driven songs and making different kinds of versions of them. And so Chris Montan [?}two years ago came to see me and we became friends over the years, and he said, “Man, you know what you should do? You should take the Disney songs and you should do your kind of versions of them. It’s an extension of what you’ve been doing with the Great American Songbook, but it’s kind of the same thing but it’s different.” So that idea kind of intrigued me and we talked about it for a while and finally we did it. And when I got into doing it I realized how important…unlike The Great American Songbook, The Great American Songbook was our parent’s music, you know, but the Disney standards are our children’s music. Like my daughter’s 22-years old, and she knew every song that we did on that album and they were all very
ST: Yeah, well, that’s the biggest difference. I think this Disney album has a much bigger demographical appeal. People don’t have to discover the music. They know the music.
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JI: I saw all the movies when I was a kid.
JI: It’s charisma pre-sold, as they call it. ST: Yeah, that’s a good way of putting it. So that’s what happened. I went in and did it and then they decided to release it, to make a video of “Bella Notte” caused they really like that and to release it with The Lady and the Tramp DVD, which came out February 28 th. And the after I turned that in I got asked by the Sinatra family to go with Quincy Jones to the Hollywood Bowl last season on opening night and sing “Fly Me to the Moon” in honor of their father Frank who was inducted into the Hollywood Bowl Hall of Fame. And so that led to me making my Sinatra album. I really have two albums out at the same time. I have The Songs of Sinatra,, which I love, you know, getting into that Sinatra album and the Disney album. JI: What kinds of preparation did you do in terms of discussing and preparing the arrangements on The Disney Disney album. ST: We have kind of a crew of people that I’ve been working with for years and Bob Mann is a partner of mine; he’s co-producer of the albums. He and I have been working together since he was in that group Dreams. JI: The one with the Brecker Brothers and Billy Cobham?
Armstrong and Ray Charles even though he’s not very know that much for his jazz, but some of the stuff that Quincy did with him, you know. “Move to the Outskirts of Town” and… you remember those arrangements? I mean, those things always killed me, man. I’m really kind of a blues-influenced cat, you know. I grew up in Texas in an all-black neighborhood. My family they were Italian immigrants that had a grocery store with a house in the back. Joe Sample and The Crusaders lived across the street from me. JI: I’m friendly with Stix. ST: Oh, well, Stix is my man. He’ll tell you about me. I was the only white boy in the neighborhood for miles, man. So that music is just something that…anything with like a little bit of blues in it. Billie Holliday always killed me...it’s always something that I leaned strongly toward. And when I got into making mainstream jazz albums, I mean, I produced Blood, Sweat and Tears in the old days. Basically, what I wanted to do is take these songs and do something original with them. I didn’t really want to copy anybody and I don’t think we have. Whether people like our arrangements or not, I don’t think they sound like anybody else’s. We tried to just take these songs and just be true to them and do arrangements that—I’m talking about my other albums more than my Disney albums—try to bring them into the 21 st century, but pay tribute to the kind of great harmonies that Nelson Riddle wrote and Billy May—you know what I mean? Pay tribute to them, but not copy them. JI: Put your own spin on it—it’s about developing your own voice and your own perspective, a function of how you live your life.
ST: Yeah, that’s why I met those guys back in ST: Exactly. And that’s exactly what we’ve tried the ‘70s, and Bob and I have been working to- to do. And what I’ve tried to do all the way from gether ever since. Allen Broadbent is somebody my first album on is I’ve also tried to honor that we’ve started working with in the last few some of the great soloists from that period. Like years. He’s a wonderful arranger and he’s been if you look back on all my albums, I’ve used working on all the stuff that we’ve done. We Harry “Sweets” Edison, rest his soul, Toots, have a team of people that we use and we Clark Terry’s played on almost everyone of my worked with Sammy Nestico who we had never albums, Plas Johnson, of course. Joe, but Joe’s worked with before. Sammy worked with us on a not old, but Joe Sample played on a lot of my couple of things on the Sinatra album, which stuff. Or, at least, he’s not old to me, not comcame out great. And, of course, Quincy and I pared to these cats, you know. I tried to do like worked together on one of the tunes. So, it’s just a great group of people who know what they’re Hear Steve Tyrell at Café Carlyle, Carlyle Hotel doing. December 1 thru December 31 35 E. 76th St. New York 212-570-7189 JI: What was the spark that aroused your interest www.thecarlyle.com in mainstream jazz? Visit Steve on the Internet ST: I loved the music of Duke Ellington, Louis
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Usually, the music producer doesn’t end up singing in a $100-million movie, you know what I mean? ” “
modern kind of 21 st century versions of classic Steve Gadd came in and took Billy Cobham’s Blood, Sweat, and Tears, I came in at the end of stuff and then have some of the classic soloists place. Will Lee took Chuck Rainey’s place and the album that had “Hi-De-Ho” on it. And they play on them. Michael Brecker’s played on my that’s where I met Bob Mann, Don Grolnick and were going through a transitional period too, stuff, well, on this last album Chris Botti played Randy and Mike. We’ve all been friends ever where David Clayton Thomas was leaving the on “When You Wish Upon a Star.” since. Then I just continued on down the road band. Bobby Colomby had been the producer, and I left New York after a while, came out to but they had decided that they didn’t want a California and got into doing music for movies member of the band producing them, so I kind of JI: Could you talk about how you got involved in the record business—especially in terms of and soundtracks and stuff like that. Then, that led came in and took over for Bobby. We would just working with groups like Dreams, and Blood, me back to being an artist myself. I’ve produced have meetings and I would suggest songs and Sweat and Tears. Give us a thumbnail sketch along the way some stuff with Ray Charles, people would do arrangements. In those days, about how the doors opened for you leading to some stuff with Linda Ronstadt, a couple of her they had a place in Dobbs Ferry, New York that these association associations. s. big hits, you know, “Somewhere out There,” and we used to go rehearse. It was kind of cool in a ”Don’t Know Much,” with her and Aaron way. We would decide on something and then we would go to the rehearsal hall. Somebody ST: Like I’ve said, I’ve always been attracted to Neville. R&B and blues. That was my roots and when I would write an arrangement and then we’d mess was a kid, I was in an R&B band in Texas. I was JI: What kind of direction or instruction or dis- with it in the rehearsal hall before we ever had to always fascinated in the process of making the cussion did you have when you were going go to the studio to record it. Then I brought some records. So I got a job very early on in my career through the production of recordings with Blood, different people to that gig. I brought Paul Buckluckily to move to New York and work at Scep- Sweat, and Tears or Dreams? master and we did a couple of really nice string ter Records, which was an independent kind of charts on one of the albums in London. He was R&B label, really. We had Chuck Jackson and ST: Well, Dreams kind of had all their stuff very hot in those days with his work that he was The Shirelles, Dionne Warwick, Maxine together; I just went in and recorded it for them. doing with Elton John. Man, he wrote all those Brown0—you know, people like that, and And like I said it was at the very end of their great orchestral arrangements for “Madman Tommy Hunt and people in the ‘60s that were career. They were almost a band that was too Across the Water” and all those Elton John real kind of R&B icons. I started producing re- famous to be a band. tunes. Do you remember, “Tiny Dancer” and all cords for them and then I left there to go on my that stuff? He came on the scene in a big way in own. I got a deal to produce records for Colum- JI: They did the two albums and that was it. the ‘70s. And so he contributed some stuff to one bia and part of the deal was to do my own stuff of the BS&T albums. And we went over to Lonfor Columbia but they also gave me the gig of ST: It was the last album and they were like don to record with him. producing Blood, Sweat, and Tears and then being asked to do everything. They were playing Dreams was on the label at the same time. And on everybody’s albums and records and stuff. JI: It sounds like the doors kind of opened for so I did the last group of sessions with Dreams. And I think they just didn’t continue. With you, you’ve worked hard for years for this To Advertise CALL: 212-889-0853
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“overnight success.” The public thinks of overnight successes—and when you’re young you want everything to happen yesterday. As we get a few years of experience, a kind of inverse pro portion sets is—you want to slow it down, I think, and overemphasize every little thing that you do. You become more attuned to subtlety I think.
you have the soundtrack division. Then you have music for movies. And it’s a shame. Pop culture the record company’s soundtrack division...You is in trouble, man, in case you haven’t noticed. have the music supervisor. I mean, there’s a lot of people that are working on something instead JI: It’s the dumbing-down of America. And of the writer of the scene, and the director of the people are preoccupied with the superficial, the movie and the person writing the song hardly illusion. It’s unfortunate; that’s the way it is. It’s ever exists anymore and it’s a shame. And when clear from the observations and evidence, that I say it’s a lost art it’s a shame, because when people do gravitate toward quality. The big issue you write a song…if you’re a songwriter, you sit is “If only…” If only the music could be heard in a room and write a song, you have no idea by more people it would be loved and appreciST: Yeah, I agree, you do. Yeah, I see what you mean. I mean I just have always been a working who’s going to sing it most of the time unless ated. When I talked to Pat Metheny he was tellmusic producer, basically. I’ve done music for you’re producing somebody that you’re writing ing me how a lot of people come up to him records. for or you’re working with someone who’s mak- around the world and it’s been happening for ing an album and they’re going to sing it. But for years, “What is that that you’re playing?” “Oh, the most part, you’re just writing a song. Well, in that’s jazz.” It’s one style of jazz. There are cerJI: You play piano, too? film, you have a script, you have a story, you tainly many, bebop, hard bop, swing, early, have a character, you have a director who’s go- avant-garde, whatever. And they say, “Wow, I ST: I play a little guitar. I’m not really a very good musician. I’m a singer and I understand ing to shoot that scene. It’s a beautiful thing didn’t know that that’s what jazz is.” When you music and chords, you know what I mean. I kind when the writer of a piece of music gets together expose people to the highest quality musicians, of view myself as like a director of a movie. You with the person who’s going to direct and create it’s hard not to believe that intuitively they won’t can put the cast out there, but you gotta get the the scene visually and the person who wrote the resonate with that because the foundation is real, performances from the cast and make sure that scene in the first place. It’s such a fertile place it’ pure, it’s truth. It comes from people’s souls when you get in the car you didn’t leave some- that you could come up with something really as opposed coming from some contrived, superbody’s best performance in the studio that you good. But nowadays everybody is afraid to do ficial, or synthesized, phony place. got it that you helped them get it out. That’s that. It’s like, “Wait a minute! We’re not used to basically been my approach to making music. doing that. You mean we have to pay this person ST: Yeah, absolutely. It’s just terrible. I don’t I’ve done music for film, television and I’ve to write a song. What if we don’t like it?” Every- know what to say about it. been nominated a couple of times for an Emmy. thing comes from the negative instead of saying this is a great opportunity to create a wonderful JI: Talk about the music you’re performing live. new song that’ll live forever in our movie. It’s JI: What are the biggest challenges for you in terms of working on music for film or TV? like, what if we don’t like it? ST: I’ll be doing songs from all my albums, a lot from the new Sinatra album. The Sinatra is the best album I’ve ever made, I think. I made my ST: Well, one of the things that I’m disappointed JI: I think you framed it accurately—for all of us in about film and TV is this last ten years I’ve that are involved in making music, recordings first album in 1999 on Atlantic. It really kind of kind of lost my interest in working on film and and playing and so on and so forth. The creative started this whole Great American Songbook TV, ‘cause I’m not a composer. I’m a music process, and creating something new, is about latest renaissance or whatever you want to call it, because Rod Stewart heard that album and Richard Perry and they decided to do their version, which ultimately, I don’t know if you know I ended up doing the last two of his albums. But it “ I grew up in Texas in an all-black neighborhood. started when I sang “The Way You Look Tonight” in Father of the Bride and that album My family they were Italian immigrants that ha d a grocery came out, I mean, the Atlantic album, Ahmet store with a house in the back. Joe Sample and Ertegun put it out. It was an album of standards. The Crusaders lived across the street from me...I was the And it influenced a lot of people. David Foster tells me that it influenced him and then he started only white boy in the neighborhood for miles, man. ” producing Michael Buble. That started me singing back live. Rosemary Clooney called me and asked me to perform with her because she liked producer, supervisor. If I was a composer it starting with nothing, or with a germ of an idea, the album, so I’ve been playing live concerts would be different. But the art of writing a song and having the courage, ingenuity and drive to now quite regularly for the last six or seven for a movie, collaborating with the filmmaker to develop it into something. You’re taking some- years. And it’s my favorite thing in the world. create a scene in a movie that has something thing from nothing. We’ll worry about whether it Last year I did quite a bit of record production, special is becoming a lost art. And it’s a shame, works or not later, but we can’t figure out if it’s but I love playing live. It’s a privilege to be able because some of the best music that’s ever been going to work or not unless we have it in the first to play your music live. written in America has been written in collabora- place. tion with film. JI: Can you share some of the understanding of human nature that you have gathered through ST: Right, you’re not getting the opportunity to do it, because on top of coming from the nega- your experience in the business and as an artist? JI: Don’t you think it has to do with economic factors? People are afraid to step out and say, tive it’s being replaced by somebody an exterior “Well, gee, let’s create something new,” when person like you say who has a soundtrack deal ST: Being an artist is quite an undertaking. Part they have the convenience of falling back on they made with the movie. And they’re trying to of it is you’re putting yourself out there to be something that’s already been a proven success. take a song that was written that has nothing to heard, but you can’t take it too seriously because And they say, “Well, maybe this’ll generate x do with the scene that if it works it’s an accident it’s a gift. And if you’re operating on the true more pennies on the ledger and then I’ll have my and put it in this scene so that it will be able to level of artistry then you’re operating on some job for the next film.” be marketed with the movie, and it had no gene- other kind of spiritual…you’re tapping into sis with the movie; it had no genesis with the something else. And that’s what it’s about. And every artist knows that. When you get out there ST: That’s exactly it. That’s exactly it. Well, scene. And that’s why you don’t have any great first of all, everybody has less and less creative academy-award-winning songs anymore. And and you get on this high, this kind of wave where control of anything any more. You’ve got the you haven’t for a while and you’re not going to you’re just kind of a vessel [laughs] where stuff film studio that has their music department...and unless people get back to letting people create is coming out and it’s just really great. And you 26
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feel it communicating, so you can’t take it too seriously in the sense that you can’t say it’s yours. If you know what it is you know it’s not yours. And you know if your voice is moving somebody then it’s a gift you have. I mean, certainly you have to study what you’re doing and you have to learn and you have to improve on your craft and you have to constantly work on it, but the reality is it’s a gift. And that is what I think is something that I’ve noticed over the years about the human condition. When you take yourself too seriously and you forget that it’s not you, man. Does that make any sense to you?
“
if you’re operating on the true level of artistry then you’re operating on some other kind of spiritual…you’re tapping into something else. And that’s what it’s about. ”
Of course. We all then face the temptation and tyranny of the ego. JI:
Right, and that’s always the problem. That’s when people act rudely or they have problems, because they start thinking it’s them, you know [chuckle]. ST:
JI:
As opposed to it coming through them.
Yeah, exactly, and so I’ve kind of learned that. And I remember Ray Charles telling me something one time. You’re always out there. And you’re always being criticized by somebody, one way or another. You’re too inside; you’re too outside; you’re too this; you’re too that. I remember Ray Charles telling me one time, he said [mimics Ray Charles], “Man, I never let it worry me if somebody don’t like me ‘cause there’s a whole lot of people that do [laughter]. ST:
That’s good. I’m sure you’ve been through this, where you might get 99 successive compliments reviews, and then somebody will say something negative and that ruins everything. You’re suddenly, “I should quit.” But compliments and criticism, like perfume, are probably better off inhaled than swallowed—since down deep we all really know when our music is hap pening or not. JI:
ily man. I’ve been through…I lost my wife a few JI: That kind of mindset lends a totally different years ago to cancer. That was something my kids perspective, one that’s possibly quite limiting to and I experienced that opened our eyes to a lot of the creative process—which requires a modicum things. You see someone suffer and you see of clarity, and commitment beyond the physical, someone who had no idea that this was going to to be able to be clear, and enable the music or happen to them fight gallantly and it just changes whatever it is you’re creating to flow through your perspective a little bit...a lot! Especially you. It’s an entirely different perspective. when they’re your mother or your wife or your partner. And so it does change things. I mean ST: Yeah, well, the world makes you do that. It Frank Sinatra once said, “You better live every does. There’s a certain thing that you have to ST: Exactly. I mean that’s that vulnerability that I’m talking about. You go out there. You put day like it’s your last and one of these days deal with. Your albums have to be marketed or your ass on the line. And you don’t really know. you’ll be right [chuckles].” So you have to kind they don’t sell. Then if you see that they’re not You know if you’re good, if you move some- of keep that in mind, man, that it can happen to being marketed then you get bummed. And if body. I mean you don’t know that you’re good, you, that you can spend your whole life being they don’t sell, you can’t make another one. It’s but you know that you’re doing something when negative or being depressed or finding out like there is stuff that puts you down the wrong you move somebody and they tell you, “Hey, what’s wrong. And we all do it, man. Don’t get path that you can’t help. There’s a lot of stuff man, that really touched me or my father was in me wrong. We all do it. We all get into that that you have to wade through and sometimes the hospital and we played your album and it got space of the one bad review and forget the 99 you don’t know if it’s just too deep, you know, him through.” When you hear that which every good ones or we’ll think about what’s wrong and in the music business. The music business is artist I’m sure does and I’ve certainly heard it a we’ll never think about what’s right. If you can getting worse, because it’s a dying business unlot with these Great American Songbook albums stay grateful to what’s going on in your life then fortunately—the record business, I mean, or the that the music got people through tough times. you can be happy. If you’re not grateful then CD, whatever you want to call it. Everything is You go, man, that’s all worth it then. If you real- you’re screwed. There’s only two ways to be. merging together. The reason all the companies ize it’s…if you like the sound of my voice and It’s a shame, man. You can never get enough, merge is so you have one head of sales where somebody else may hate the sound of my voice, man. If that’s what you’re looking for you’re you used to have five. All these companies come but if you like the sound of it then it’s a gift. I never gonna get enough. I don’t care who the together and the guy who used to be the head of had nothing to so with the sound of my voice. hell you are, Donald Trump. If money is your this company is supposed to do the job of five When Ray Charles sings two words, I feel better. deal… people. He really can’t do that. So it’s impossiIt’s all just flowing out and you have little to do ble. So he goes to work every day trying to not with it. You’re just doing the footwork. lose his job. You have a whole industry that’s on JI: It’s just a bottomless…it’s kind of like eating food with MSG in it. It’s not filling; it’s not defense. healthy but you’re just going to keep wanting JI: Talk a little bit about what you do that helps you maintain balance in your life? more of it. JI: And, those whose positions are based on having gotten because of who they know, rather than on a foundation of competence bolstered by ST: I don’t know. I mean I’m very much a famST: Yeah, exactly. Exactly, man.
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what they know, are likely to be looking over their shoulder even more. And nobody’s going to fight for anything ‘cause it’s not worth it to them to lose their job. And so it’s very hard. I mean I’m just trying to tell you that I don’t have it down. I definitely don’t know how to navigate through this and I’ve been doing it forever, man, a long time. ST:
Your clarity and attitude present a valuable role model. When we think we have it all together, we’ve stopped learning and wouldn’t be able to expand on our music and art. JI:
I mean I have my opinions of what’s wrong, but I don’t know if I can do anything about it. I think that the record industry doesn’t build artists anymore like they used to. So they have no catalogue. They have nothing to fall back on. Everything’s like starting over. An act can be around, a hip-hop act, whatever. It could sell three-million albums, but it costs so much to have those. They gotta have incredible videos, an entourage of a jillion people and this and that and then two years later you never heard of that group anymore. ST:
I was interviewing drummer Ben Riley, who played with Monk for years. He commented on keeping one’s ego in check. He said, “Man, when I was coming up when we were playing in Harlem we got six dollars for the gig for the night. There wasn’t an ego ‘cause there wasn’t any money.” Then he said now, of course, you’ve got people getting a million, five million, a zillion dollars and it creates the illusion of, well, gee, I’m making all this money then I must be important. JI:
That’s what happens. You start thinking it’s you. Then you find out it’s not you and you’re kind of screwed. JI:
When you’re working with an accompanist, a guitar player, a piano, it doesn’t matter, what is it that enables you to be at your best? JI:
Just an environment for me to sing in whether it’s one instrument or a hundred. Time is everything. It’s very important that you can feel the time, even if it’s no time. You know ST:
what I’m saying? Especially in standards in jazz standards, you got feel where the groove is, man.
(Reggie Workman continued from page 29)
The second week is the group Great Friends is another project that happened when I JI: You don’t learn that in a classroom. toured Europe and Japan. The CD is available here on Evidence Records. Since Rashied Ali ST: No. It’s just that it comes from your heart. will be here for Great Friends, he’s got his So whoever’s accompanying you has to have the Quintet that will follow. And then there’s a same heart. And you know it, man. It’s like two spoken word artist named Kayo and man, he is hearts beating, or 20 hearts beating at the same powerful! He’ll do some of his words to music time. And you all know. And you know when and some of it, he doesn’t need any music. The somebody messes up too. You know what I author Ashley Kahn will be doing a lecture out mean? in the Living Room. Ashley wrote “The House That Trane Built,” he did Miles Davis and JI: Instantly. Wayne Shorter. He’s such a part of the pillars of the building that we are building. Ashley is ST: Instantly, and you just keep going, That’s what makes it live. But when it’s all together, going to talk about his books and there will also be a Q&A session. that pulse that underlying kind of spiritual beat The Third Week, Feb. 18, we’ll have that everybody’s feeling at the same time is hapOdean Pope. Odean is also a grant recipient and pening, it’s a wonderful thing, man. will also be involved with us the final week which is The African-American Legacy Project. JI: Does your involvement and the appeal of the Great American Songbook offer a ray of hope Charles Gayle is a musician that lives around New York, but he never gets a chance to perfor the future of creating quality? form here. Around the world, people love him, ST: I’m just very happy that there’s a renaisbut nobody has ever seen or heard him here. sance going on for the Great American Song- Now is the opportunity for us to present Charles book, because I’ve fallen in love with these and his trio. Another one of my projects, songs. I truly believe that the songs of the Great Ashanti’s Message, is a group that involves American Songbook are America’s greatest con- some of the people I’ve been working with. tribution to the arts. I really believe that. And the Kevin (Bujo) Jones teaches at M.A.D. which is reason I say that is I don’t know any other music the Montcair Academy of Dance Drummers, so that allows itself to be interpreted by so many he’s going to bring some students. There will be different kinds of personalities in a way that they about twelve drummers that deal with African can own it. Like you can take a song of George rhythms and rap and so forth. So they will do Gershwin’s and you can love 25 versions of the their thing in the Living Room before Kevin same song. You can love it by Frank Sinatra or joins us on stage and performs with us. Miles Davis. You can love it by John Coltrane Odean will come back for the final week of Norah Jones. Everybody can do that tune, which is actually a free concert — no cost to “Somebody to Watch Over Me,” or something attend — in tribute to all the people that came like that, and bring their own personality to it. And it can span 80 years or 70 years or however and supported the rest of it. There’s going to be long it’s been since it’s been written. And so I’m a 20-piece Big Band called the AfricanAmerican Legacy Project; a twenty piece choir; very happy that that’s happening a little bit now and that I had something to do with it. ‘Cause I some new music and some of the older music which Charles Tolliver has transcribed and he’s go and I play concerts and I see young people come in and listen to the great standards of going to conduct it. Richard Harper is gong to American composers and realize how great the conduct the choir. The young people will be music is and discover it. I think that’s a great presenting what they’ve got going on and since it’s The Legacy Project, Jimmy’s Garrison’s thing. And it’s given American youth a totally son, Matt Garrison, will bring his trio that week new perspective on what’s great. ♪ and my daughter, Nioka Workman, will bring her string quartet, Sojourner. The Legacy Pro ject is all about the next generation and passing the torch. I’m deeply moved by this project. I just have to mention that Francina Connor is my partner in crime on this entire project and without her, this never would have come to fruition. What we’re doing is necessary, because without somebody rolling up their sleeves, it would be the same old stuff that’s always hap pening and running the audience away. They tell you, ‘this is who you should be listening to...this is who’s playing… and there’s no alternative for the people to really look at.” For information about tickets for both the preview concert and the Sculptured Sounds Festival, call 212-959-2200 and 212-959-8566. The preview concert starts at 7:00pm and there’s a suggested donation of $20. ♪
Cutting Room
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INTERVIEW
Reggie Workman On His Latest Project, the “Sculptured Sounds Festival”
B
ass player, composer and educator, Reggie Workman, is a man on a mission. He’s played jazz for the past fifty years and has no plans on slowing down. He does have plans, however, to pass his experience and the experience of his contemporaries — other educators and musicians at The New School — to upcoming generations so that they may keep the legacy of jazz alive. How does one keep the flame alive in the face of contemporary music and culture? Workman, is taking a page from Field of Dreams: Dreams: “Build it and they will script of Field come.” But first you got to get the word out! Reggie shared with Jazz Improv about his plans for a festival of new music and art to take place in February called, “Sculptured Sounds.” A preview concert on December 10th is scheduled at St. Peter’s Church. “The December production is like a preview concert to show what kinds of things we want to do at the festival. I’ve been playing music and doing this sort of thing for a lifetime. I’ve taken notice of what’s been going on over the years – I see the production of various artists and various kinds of music. A lot of musicians, including
find people that would compromise their fee for the greater good. That’s why I reached out to people I’m already affiliated with; people I’ve traveled with and have been out on the road with. Most of the people came on board right away like Oliver Lake and Andy Cyrille of my group Trio 3. Billy Harper who is not only a great saxophonist, but also a great vocalist, is taking part as well. He’s involved with chorus at the New School, so that’s one of the projects that s s we’re nurturing. We’re creating a festival that i e will run for the month of February (which is W n Black History Month) at St. Peter’s Church on e K Lexington Avenue. We’ve chosen to name the © festival, “Sculptured Sounds. It’s going to take place every Sunday in February—four concerts: February 4th, 11th, 18th and 25th. of the festival. When you buy a ticket and you go The New School is sponsoring us to a de- into the sanctuary, you’ll be getting into the mugree as Andy, Billy and myself are a part of the sic aspect of the festival. faculty. Also, good portion of the choir that Billy The Festival is dedicated to the memory of is using is from The New School and it’s a nice the late Jimmy Vass. Jimmy was a person who I picture of what we do up there as an institution. grew up with in Philadelphia and we’ve been The Preview on December 10th will feature together for years. It really shocked us all that he three musical groups: Trio 3, Billy Harper and passed. He was directing music at the University the New School Vocal Ensemble, and Finnish of the Streets, so a lot of young musicians know him from that. He was also teaching at Boy’s Harbor. I think that all of us are in the same frame of mind to try to pass on our knowledge and experience of our lives, to the younger peo“ ple so they may carry the music forward. That is the concept of the festival, the presentation and everything that we’re doing. If you look around, most of the musicians are educators because we’re looking to give something back as well as spread our knowledge. The Sculptured Sounds Music Festival will occur on four consecutive Sundays in Febru” ary. We already know that we’re competing with the Winter weather and Sunday sports, but we’re myself, are left out of that picture. My friend, Saxophone maverick Juhani Aaltonen in his US hoping to inspire people to check out something Francina Conner, is involved with St. Peters debut. new and different. Church which is known as being the jazz minisThere’s also going to be an art exhibit that’s The Festival kicks off with BREW, which is try. She related that they need to attract new going to happen on that day, which is really in- Jerry Hemingway and myself. Next is the Reggie people to the church—young people. At the teresting as well. Oliver Lake and Dick Griffen Workman Ensemble which has in it Pheroan same time, there is music that needs to be pre- are both painting now and they’re going to bring AkLaff amongst others. BASSDRUMBONE is sented to a new audience, so it seemed like a their work to exhibit. That will be in the living being supported by the Composers of America. natural fit. The situation kind of presented itself. room section of St. Peter’s, while the main con- Bassdrumbone is Jerry Hemmingway, Mark There are places like The Stone and the Vision certs will take place in the sanctuary. Helias and Ray Anderson. They got a grant and Festival that are also presenting this type of muWith all that happening, we’d like to have a they agreed to perform as part of their grant for sic. My experience is vast – it crosses the border- theme that there are lectures and demonstration us. We had also met a Sound Improvisationalist lines. Musically speaking, I don’t consider my- in the Living Room and that will be one “flavor” named Umberto Grati. He actually paints picself ‘inside’ or ‘outside.’ To me, ‘outside’ means tures to the music and projects them on to a beyond one’s comprehension, and ‘inside’ means screen. I’m not sure if he has the ability to capHear Reggie Workman at the incarcerated. I’d like not to be related with either ture it, but it will be available to the people that “Sculptured Sounds Festival” of those two areas. I looked around to see who I are there to experience. He does it through comDecember 10,2006, 8:00 PM was affiliated that would be willing to come on puter software, so it’s a computer paint brush — at St. Peter’s Church board with me and deal with an artist-driven it’s not on an actual canvas. 619 Lexington Avenue @ 54th Street project. Of course, we don’t have the money like Info: 212-959-85 212-959-8566 66 (Continued on page 28) the bigger producers out there, so I needed to
What we’re doing is necessary necessary.. Because without somebody rolling up their sleeves, it would be the same old stuff...
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INTERVIEW
Andrew Cyrille Interview By Eric Nemeyer Transcribed by: Dave Miele
Jazz Improv: In the fifties, you studied with Philly Joe Jones, who at that time of course was a part of Miles Davis’ group and that was the group at the time. Maybe you could talk a little bit about the influence that Philly Joe Jones had on you? Andrew Cyrille: Joe was a very charismatic individual, as many musicians will tell you. He was a unique personality, in a way. At the same time he was an extraordinary drummer. He had great musical ability. He had great ears. His technique was su perb. And he was very intelligent in terms of how he played the drums in relationship to the music that was around him. I liked to be around Joe, simply because I was able to watch him. I was at a number of perform-
Drummers...have a force that can shape the sound of a band, especially when you know the music. ”
“
that I went to with Joe and Stan Getz. Then there was another one with a piano player named Evans Bradshaw, I remember going to that session with Joe. So many other things. Sometimes he was supposed to be s s i giving me a lesson and he’d have to go into e W New York for some business, so I’d be with n e him on the subway and he’d pull out some K brushes and start showing me some kind of © technique on the seat. [laughter] Little things like that, just being able to be around with Thad Jones. Mel was the driver. him. To watch him, hear him talk about drums and drumming and other musicians, JI: I loved going to hear them on Monday other drummers. nights at the Vanguard. Any tempo worked and it would stay at that tempo. He had all JI: Is there something about his style or his the technique to execute whatever he approach that made a significant impact on needed to. It didn’t matter that the rolls your own stylistic approach to playing the weren’t out of the Stick Control book. Control book. drumset? AC: The thing is, of course, all of us use AC: That’s an interesting question. My rudiments to some degree. Mel played that style evolved, conceptually, because of my music. Drummers, in a sense, have a force association with other people. The thing that that can shape the sound of a band, espeI had in common with what Joe presented cially when you know the music. You can was the fact that he used a lot of rudiments make that music sound almost anyway you in his playing—rudiments are sticking pat- want it to sound, especially with dynamics. terns—Joe used a lot of rudiments. I started The character of the person comes out in the out in drum and bugle corps and that’s all music. That’s why when you hear all of rudimental. A lot of drummers of note, to- those different Miles Davis bands, every day and in the past started out playing in drummer that he had that had a strong musimarching bands, drum and bugle corps, the cal drum personality, made that music Army band or the Navy band or whatever sound the way they wanted it to sound and branch of the service they were in. Joe was it came out that way because of the drumdefinitely a fantastic rudimental drummer. mer. They could play “Ah-Leu-Cha” with A lot of the stuff that he played, you could different drummers and each would make also hear coming from the Charley Wil- that music sound different, even though you coxon drum book. He used to do a lot with had the same front line. So, just getting “Three Camps”. The other part of it, too, back to Mel, Mel was one of those kinds of was he had such a command of the music people. If Elvin Jones played with the Thad and he was so authoritative with it. The Jones orchestra, the music was going to thing about it was that he played it with sound different. He was that kind of a drumsuch conviction and in the final analysis he mer; formidable in terms of his rhythmic really swung that stuff. He could really projections. All that music that goes on top swing. of that is shaped by the sound of the drummer. ♪ JI: That’s the operative word, really, because it doesn’t matter how much technique Hear Andrew Cyrille at the you have. I mean, Mel Lewis was an exam“Sculptured Sounds Festival” ple of that, going the other way, I think.
ances that he did with a lot of the musicians that I wanted to play with. As a teenager, I dreamed about these things. One stands out; the recording of The Amazing Bud Powell. That recording, with Sam Jones, at which I was. Just being around Bud Powell, and Sam Jones and I remember Oscar Goodstein was the producer, who was part of that group of men who ran Birdland. It was just a thrill for me, being eighteen, nineteen years old and being around those guys. That, plus also the fact that I used to be around Miles Davis and Coltrane, Cannonball and Paul Chambers, Red Garland, when Joe would be playing with Miles at that time. I remember a couple of sessions that I AC: I have to give Mel credit. I heard Mel had gone to. I remember another session on a number of occasions, in particular, 30
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INTERVIEW
Chris Botti Interview By Eric Nemeyer Transcribed by Denise King Jazz Improv: Could you talk about how your association with Sting developed? Chris Botti: He’s an interesting artist in that he doesn’t really talk much. When you know you’re getting along with him great, he never talks about the music at all. It’s funny because around over artist that are always running up to him and saying “do you want us to do it more like this or more like this,” it doesn’t really go well. His whole thing is sort of on a more emotional level. If he connects with someone, he and I connected from literally the beginning when I met him. We have a love of the same kind of music and jazz. That lead to him asking me to be in the band. He said, “Listen, I had a lot of success with doing a similar kind of platform with Branford Marsalis in the eighties and early nineties and would love to do more of that same kind of role using the trumpet in my band.” I said, “Great.” And then he said “ Come to Italy, let’s rehearse and see what happens.” So it kind of went from there. He really is one of the rare artist who loves to ex plore giving up the spotlight which is a tough thing for most big pop stars. He was into and would push me to the forefront a lot. Musically and improvisation wise he would just let me be myself in the contest of his music. It’s not always about playing a particular thing, it’s about really being a personality. And I love that in my own band. Sting definitely likes personality. There’s Vinnie Colaiuta Kenny Kirkland or Branford Marsalis. He digs that sort of thing and they’re all radically different. The way that they approach music. Whereas some people want their band to just play the parts. Even if someone is different they’re interchangeable but the parts are all the same. Sting is not like that and certainly Miles was not like that at all either. It ultimately comes down to great casting. You wouldn’t have Robert De Niro do a certain movie that you might have someone else do. Casting in music is so important and it’s overlooked. Or it’s underrated. Miles was ultimately a great casting director. In Pop music Sting has been a great casting director. That sort of thing is very, very important. Just because you can play one particular thing great doesn’t mean you’re great for all things. That’s certainly been a lesson I’ve learned over the years. Hear Chris Botti
at the Blue Note Jazz Club 131 W. 3rd St, New York, NY 10012 212-475-8592 Visit Chris on the internet at www.ChrisBotti.com
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JI: When you first moved to New York you were hoping to be a jazz player. You said, “The music moves a little too quickly for me.” Could you talk about this understanding? CB: For me Bebop is very constrictive. In the sixties, Miles’ groups started deconstructing the songs. In other words, when you listen to “Stella By Starlight, it’s not even the same chord these tunes. It’s interesting how the approach to changes at all remotely that you would hear the songs took on a different character with Kenny Dorham play or Tommy Flanagan. It’s a George Coleman and then Wayne Shorter. completely different thing all together. It’s the deconstruction. It’s not necessarily modal music, CB: Right in between there was the band with but it’s got elements of that. It’s when they start Sam Rivers. I was listening to that right before making it more open ended harmonically. The you called. Live called. Live In Tokyo. Tokyo . tempos can be fierce. [emphatically] Whether they were playing “Walkin’” or (sings here) “If I JI: Incredible renditions of “All Of You” and “If Were a Bell” and all that stuff. They were play- I Were A Bell.” Sam Rivers gives it a completely ing tempos. “Footprints” and all that stuff. They different flavor than either Wayne Shorter or were exaggerating the tempos to a certain place, George Coleman did. By 1965, when Miles’ but the harmony itself wouldn’t move in the group recorded at The Plugged Nickel, they were same way that you would hear people play “Joy taking all sorts of liberties. Spring” or “Hot House.” So for me I loved that aspect of Miles’ playing. The searching quality CB: I loved that because what it did, it made of that music. The ballads that he would play, “I Miles Davis not try to be Dizzy Gillespie. Of Thought About You,” or “Funny Valentine,” and course with limited chops you can’t be Dizzy all of that kind of deconstruction thing I loved. Gillespie anyhow. He didn’t do, “Boo ba-do-baBut I realized, when I first moved to New York, do-ba-de-ba-doo-be. He just went off into “bah... that I wasn’t going to be a hard Bebop trumpet Beee” [emulates long tones on trumpet] all that player like Roy Hargrove. It was at the time whatever. That’s when I think Miles Davis really when Wynton really burst on the scene, a few started to shine. As great as he is and certainly is years before I moved to New York. I knew I was my favorite, it’s his limitations that really made not going to try to go into that world and com- him great. He couldn’t get around the horn like pete with that particular kind of thing. Wynton Dizzy or Clifford or certainly not Wynton today. can do whatever he wants—he’s a great trumpet The trumpet is a very unforgiving instrument. player. He can play all those things. I moved to Even by the time you get to a certain age you’re New York at the time when there was this kind locked into a certain approach on the trumpet. of affection for the superstar sidemen. You know What people ultimately don’t give Miles enough Sanborn, Michael Brecker, Randy Brecker. Out credit for. I mean they certainly love him, but he in L.A., it was Jerry Hay and that sort of stuff. I made great records. I think that’s one of the thing wanted to combine my love of 1960s Miles that separates him from certainly a lot of his Davis with kind of a head for Pop music—and peers. This is one of the things that I get into not just be a Bebop trumpet player. Bebop, what with jazz musicians. A lot of jazz musicians are you’re really referring to is the chords. A lot of not interested in record making. Record making the popular music instrumentalists that play isn’t just “Oh, I’ve got a pro tools kit” or whatsaxophone—the harmony is coming out of R&B ever the latest gizmo is. If you look at Miles music. There’s really very little to do with har- Davis or Frank Sinatra, they surrounded themmony in my music that’s R&B related. The way selves with the best engineers and the best arthat Luther Vandross or those kinds of artists rangers, they went in the best studios. They view harmony is much more prevalent in some really cared about what space they played in, pop music from saxophone players than there is where they stood, what kind of microphone they my stuff. My last two records have a lot more to used. Certainly Gil Evans was paramount with do with a certain kind of jazz. Harmonically, it’s Miles sound on a few records. It shaped the much more into that then a bunch of R&B sound of his stuff. A lot of his contemporaries chords. were trying to get from fix to fix to fix. They’d give away their trumpet or they’d be recording JI: You mentioned earlier about deconstructing on six different labels. You can feel the uneven®
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ness of the work. Miles was trying for something Mandel. The stuff. for three or four records and then he’d shift to another kind of thing. I still marvel at that kind JI: Night and day. of attention to detail. Also, his allowing people to be personalities in and amongst the music. CB: It’s night and day difference. It’s the same When he’d put the horn down and would walk to guy, same heartbeat, same voice. Why is it so the side of the stage, the audience would be great and so different and so much more accessiviewing literally the history of jazz in front of ble? It’s because they made great records and them—you know Miles, Coltrane, Cannonball, they understood. One of my favorites of that Chic Corea, Keith Jarrett the list goes on and on. stuff is The Jobim/Sinatra record. You know the All the way up to Marcus Miller, Darryl Jones, whole basis for that is they would come in and Kenny Kirkland. That sort of thing was just so they would just whisper a record. Everything running through Miles’ music so heavily. A lot was soft and in restraint. I don’t know if someof jazz musicians now, especially young trumpet body said that to Miles when he made Kind Of players I hear, just go into a room set up some Blue. The kind of restraint on Kind of Blue is microphones and blast at the microphones. They very similar to me to the kind of restraint I guess
that help them understand stuff. Unfortunately, a lot of times if you come out with an all original record and they go “huh.” It’s no secret to me why Miles played a lot of familiar stuff at different parts of his career. It enabled them to deconstruct the stuff, but at some point in the thing it gave the audience something to grasp on to. It insured for him as an artist that he would immediately have people relating to what he did at some level. How is your perspective and the interaction or process of making music different or deeper now than it was when you were focusing on being a strict jazz player when you came to New York, given that you now have had the opportunity to perform in high profile situations? JI:
The hard core jazz phase...because I had all of those other guys that I looked up to too, it was sort of a two pronged effort. You really want to be a great improviser or an original improviser for yourself and set yourself apart in some way. But also I loved Sanborn and Michael Brecker, Randy and they were cool to me, man. They would play solo’s on pop albums that I thought was interesting. So I moved to new York and got involved in that world and realized that maybe my one way that I could say, I’m not Wynton Marsalis.” I still valued as an improviser being the jazz musician that the pop musicians would go to. I have so much respect for Wynton and really revolutionizing the instrument when he came out. So many people when he came out (laughs)...it’s hilarious to me. It’s like in sports, you just can’t get away from the fact that Michael Jordan is an incredible basketball player. Everyone can say that he leaps from the free throw line and smashes the basketball over someone’s head and that’s great, but in music it’s more subjective thing and peo ple’s ego’s come into play. They hear Wynton do some things on the trumpet that physically no one can do. Then I hear trumpet players say, “He doesn’t do it for me.” I go, “Yeah right. Give me a break...the guy can play his ass off.” So when Wynton came on the scene, it was so powerful I just kinda go there’s no way I can compete with that. So what do I do to still be a valid person? A valid trumpet player, valid improviser or valid record maker? That became my path. Literally I’m going, “Okay, I get you.” I’m waving the white flag when it comes to that. So, now I’m going to move over here and do this kind of thing in hopes that I can separate and get my trumpet sound to be recognizable. So, via a bunch of breaks with Paul Simon, Joni Mitchell and then the big break obviously with Sting, I developed myself as the jazz guy that pop musicians would call. Quite frankly, a lot of jazz musicians find themselves in a pop venue like I would be with Sting and they over play to death. They don’t know how to work with a singer. I have that kind of sculpted out through my love of a certain kind of elevated pop music. An ap preciation for that. A lot of jazz musicians fail at that sort of thing. I kind of realized that I wasn’t going to be Wynton Marsalis and how do I do this? And that became my goal. ♪ CB:
It’s a very precarious thing for jazz musicians because they want to get off, and get all of their feelings onto a thing. But sometimes you need to have some restraint. ” “
wonder why didn’t it read like a really beautiful Kind of Blue was before. The restraint on the record when I go home and listen to it. It’s one Jobim/Sinatra record has that same sort of feelthing to go in a club and write it out. I’m all for ing that Kind that Kind of Blue has. has. Kind Kind of Blue would be that. But making records is a different thing. It’s like a pop record now in a lot of ways. a very precarious thing for jazz musicians because they want to get off and get all of their JI: Those are some of my favorites, the ones he feelings onto a thing. But sometimes you need to did in the sixties. The Jobim record was around have some restraint. ’66 or ‘68. So when you do an album you’re implementing all of those things that you talked about. You’re going through these processes in JI: Anybody who has made a record knows the kind of detail that goes into it. The question is advance. How is the composing process for you? whether you go to the next level and agonize For me and other people that I know, some times over all the things that are worth agonizing over, I’ll agonize over a melody that’ll take forever or just go into a studio and set up a mic and just and other times I’ll come up with fifteen differblow. ent ideas and I don’t know which of them to use. Whether I’m at the piano or jumping out of bed while I’m sleeping. How does that process work CB: Agonize over what happens before you blow. Over the arrangers, producers. I’m not a for you? real big fan of agonizing after. A lot of people go in and move every single lick around, punch in CB: It’s changed. Over the years when I first every note. It takes the essence of risk out of it started out, I’d have more realized sketches befor me. Different parts of my career maybe I did fore we go into the studio. Now, my last two it too. records I’ve done are the biggest sellers for me in the cross over market, and are all famous songs with a couple of exceptions. I’ve been JI: The amazing thing about Sinatra’s albums, in addition to the great arrangements, big bands, kind of co-writing. I enjoy that process quite a soloists was how meticulously organized the bit. I co-wrote something with Burt Bacharach finished albums were. and a few things with Billy Childs. That’s been fun for me to go into these situations. I can definitely see myself changing my attitude. Whereas CB: Sinatra was certainly probably one of the greatest record makers. When you listen ten years ago, I wanted to try to do it all. Now, to his Columbia records, they suck, you really I just want to play trumpet and try to get know...his earlier stuff. I mean, I’m like who is an audience with the sound of my trumpet more that guy. When he surrounded himself with that even than composing. It’s so difficult with ingreat team; the stuff with Jobim, Count Basie, strumental music. If you give people a familiar then all of a sudden, “Whoa!” These arrange- song, you’re at least giving them something faments came out of Nelson Riddle and Johnny miliar and you can wrap it around with trappings 32
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Jazz Nativity” Turns 21 and Goes to Birdland By John Armato
very beginning. They’ve roamed from St. Bart’s to Lincoln Center. Once, when a venue couldn’t be “Bending Towards The Light: A Jazz Nativity” found, the Stephen Wise Free Synagogue took the turns 21 this December and celebrates the milestone Nativity in. The headlines read “Rabbi saves Christwith it’s first-ever shows in a jazz club, Birdland, mas.” Christmas Eve and Christmas Day. It’s another plot Three years ago cast and fans alike plowed twist in the amazing story about a show that was born through a blizzard to get to the Patriot Theater in in a church, raised on the stage, and, now, comes of Trenton. Last year the show came to Symphony age in a major club. Space, playing the very two days of the city’s transit The story began in 1985 at St. Peter’s Church, strike. Subways and busses had ground to a halt, where the late Rev. John Garcia Gensel first sugslowing the city even more than the blizzard had, so gested singer/songwriter singer/songwriter Anne Phillips as the writer of there was extra room at the inn that night. Too bad. the Nativity through jazz. Anne turned the Gospel Those who were there describe the performance as a stories into a score, and Dave and Iola Brubeck – and magical celebration of the show’s 20 th anniversary. Anne’s husband, saxophonist Bob Kindred – contribThis year, it looked like the Jazz Nativity would have uted additional music. Directors Beth and Tad Jones to take Christmas off. That is, until a couple of weeks turned it all into a simple but beautiful show. ago. At the same time as Anne and Bob were resignAs in all good stories, our-hero-the-show found ing themselves to a hiatus, two unlikely Santas were success, fell on hard times, and achieved triumphs, mulling over some thoughts of their own. among them: attracting amazing talent. Over the Irvin Arthur, a veteran agent who has seen many years the Jazz Nativity has brought to the stage Lionel Christmases come and go while booking the Carlyle Hampton, Al Grey, Tito Puente, Slide Hampton, and other venerable NYC clubs and cabarets, is a fan Savion Glover, Jon Faddis, Dave Brubeck, Dr. Billy of the Jazz Nativity and always felt there was Taylor, Phil Woods, Clark Terry, Jimmy Slyde, Can“something else” to do with it, but just couldn’t figure dido, Stanley Turrentine, Paquito D’Rivera and others. out what. In recent years, a published version of the show has Then three things happened about as fast as been performed by amateur, college, and professional phones could ring: Irvin figured out what the theater groups from New York to Chicago, and from “something else” was. He called Anne, breathless, North Carolina to Ketchikan, Alaska. The show has blunt, and blurting out: “What about a club? Can you even been featured on CBS Sunday Morning and in a do it in a club?” Anne shouted “yes!” and Irvin called BBC documentary. Birdland and they said yes. Everyone’s plans changed But like Mary and Joseph, Anne and Bob have and it was time to mount one of New York’s favorite had to look hard for a home for their baby from the Christmas shows in a first-ever jazz club production. To Advertise CALL: 212-889-0853
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Within days, and in classic “come-on-kids-let’s-put-on“come-on-kids-let’s-put-ona-show!” style, Anne had booked musicians, printed posters, written press releases, and summoned Beth and Tad Jones to restage the production. So now, like a re-mastered release of a cherished recording, the Jazz Nativity is back, refreshed and scheduled for shows Christmas Eve and Christmas Day to keep the holiday fire alive after that inevitable post-meal-and-gifts let-down. Fans will find the same music, the same book, the same wonderful family experience, but tailored to the club. The 16-person company will take on multiple roles, and the set and costuming will suit the more intimate setting. The Jazz Nativity is all grown up. It literally has been to church and to school, seen its name in lights and seen the world, and now it’s returned, tall and handsome and ready to make Birdland its home for the holidays.
BENDING TOWARDS THE LIGHT: A JAZZ NATIVITY. December 24, 6 p.m. and December 25, 5 and 8 p.m. at
Birdland, 315 West 44th Street, between 8th and 9th Avenues. Written and conducted by Anne Phillips. Musical direction by Bob Kindred. Directed by Beth and Tad Jones. Original music by Phillips, Kindred and Dave and Iola Brubeck. With Slide Hampton (trombone), Max Pollak (tap dancer) and Dave Valentin (flute) as the Three Jazz Kings. Featuring Hilary Kole as Mary and Brenda Feliciano as the Archangel, plus an all-star jazz band. Produced by Kindred Spirits. Tickets: Birdland Box Office (212-581-3080) or www.birdlandjazz.com. $35. For more information: www.jazznativity.com.
Jazz Improv Magazine’s New York Jazz Guide
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December 2006
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Major Expansi Expansion on of Essentially Essentially Ellington Ellington High Hig h Scho School ol Jaz Jazzz Ba Band nd Pr Progr ogram am For the first time, during the 2006-07 academic year, Jazz at Lincoln Center will offer a new expansion of the Essentially Ellington High School Jazz Band Program (EE): three tiers of membership. Premium Membership (the original program with some added benefits), a Basic Membership and a Student Membership. The new membership levels are aimed at providing more high school jazz bands with the opportunity to receive the educational resources of this program, including an easy-to-medium level chart that will teach the skills for playing Duke Ellington’s music. Also new in 2007, both Premium and Basic EE members are eligible to take part in regional festivals. The non-competitive festivals are de-
signed to offer bands of all levels the opportunity to perform Ellington’s music and receive professional feedback from Jazz at Lincoln Center clinicians and other jazz professionals. Spring 2007 regionals will be held at the University of North Carolina in Chapel Hill on March 1, 2007 and at Temple University, Philadelphia, Pennsylvania on March 8, 2007. One additional location will be announced in the coming months. The submission recordings for this year’s 12th Annual EE, which will take place on May 4-6, 2007, are due on January 31, 2007. For more information on the history of EE, please visit: http://www.jalc.org/jazzED/ee/ b_description.html
Audition Appl Audition Applicati ications ons Availa vailable ble Now For Jazz & Hip-Hop/Ur Hip-H op/Urban ban Music Music Quartets Quartets 20072007-2008 2008 Tours The U.S. Department of State’s Bureau of www.jalc.org/TheRoad, call 212.258.9899 or Educational and Cultural Affairs and Jazz at email
[email protected]. Lincoln Center are accepting applications for the The tours are co-produced by Jazz at Lin2007-2008 Rhythm Road: American Music coln Center, the Bureau of Educational and CulAbroad Program. Jazz and hip-hop/urban music tural Affairs of the U.S. Department of State and quartets from around the country are invited to U.S. Embassies abroad. Selected ensembles are apply for the opportunity to travel to countries provided overseas traveling expenses, an hononot often visited by American musicians to in- rarium, and a tremendous opportunity for percrease cross-cultural understanding. formance and cultural exchange. In addition to Applications for the 2007-2008 tours are public concerts, musicians will conduct master available at www.jalc.org/TheRoad_noFl/ classes, lecture-recitals, workshops, jam sesformusicians.html and are due on January 30, sions, and make radio and TV appearances. The 2007. A panel of musicians and scholars will selected groups also will perform free concerts at review all applications and invite the top quartets Dizzy’s Club Coca-Cola in Frederick P. Rose to attend live auditions at Frederick P Rose Hall, Hall as well as in Washington, D.C. home of Jazz at Lincoln Center in New York, “Music is the only true universal language and additional U.S. cities to be determined. Hip- with the power and spirit to bring people tohop/urban auditions are scheduled for March 23 gether. The Rhythm Road tour is a natural exten& 24, 2007 and jazz auditions are scheduled for sion of our mission that brings jazz to as many April 1 & 2, 2007. people as possible in the name of universal A panel of musicians, experts and U.S. friendship,” said Artistic Director of Jazz at LinState Department representatives will select six coln Center, Wynton Marsalis. jazz quartets and three urban music groups will For more information on Jazz at Lincoln be selected for the 2007-2008 touring season. Center, visit: www.jalc.orgor more information Musicians inquiring about auditions may visit visit: www.jalc.org
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venue review Parlor Entertainment ing in your living room.” Lyle Atkinson, Bob Cunningham, Richard WyIn 2001 Ms. Eliot was inducted into the ands, Benny Powell, Bill Easley, Charles Davis, Peoples Hall of Fame housed in the Museum of David Lee Jones, Dave Hubbard, Brian Smith, n Sunday after- The City of New York by City Lore, a non-profit Charles McGee, and Jimmy Vass. noons, you can organization dedicated to recognizing the City’s The people that come to Parlor Entertainhear the sounds of living cultural treasures for keeping alive a ment are absolutely remarkable. The way they jazz music filling unique expression of Harlem jazz. embrace it has been the most surprising thing to the air from the apartment of Marjorie stated, “Once a year I do an out- me. My story could be very sad, but the people pianist, playwright, actress door show at Morris Jumel Mansion and people who have come into my life have made it a joyand teacher Marjorie Eliot. She is the founder have been so loyal. They come every year. My ous story. People can donate if they wish but and Artistic Director of Parlor Entertainment, oldest son, Michael, passed away in January admission is absolutely free. We began getting which presents free jazz, shows at 2:00 and 2006 and it has been tough. I have the most won- people to attend shows by sending out about 200 4:00pm every Sunday. derful people who come here and they are very mailings. Since then word of mouth and great By the age of twelve, Marjorie was already supportive. A couple came here from New Zea- people have helped Parlor Entertainment to take playing for the junior choir at her Methodist land and they had lost a son as well. We conon a life of its own. It’s a miracle how people church in Philadelphia, Pennsylvania. She later nected right away and they have kept in touch. have embraced us. This past Wednesday we had performed in the Pulitzer Prize wining play “No Place to be Somebody” by Charles Gordone. Marjorie loves people and immensely loves and appreciates the music played at her My story home each Sunday. There is no “ cover charge, no two-drink minicould be very mum, no rush to clear out the room before the second set. In fact, Ms. sad, but the Eliot will even serve salad and apple juice to her loyal listeners during people who have intermission. Marjorie decided she would not wait to achieve her dream come into my life of having a theater of her own. It was time for jazz to come back uphave made it town, free of commercial pressures and sky-high tabs of downtown a joyous story. clubs. She created the ultimate inti” mate setting where musicians who played at the Blue Note or Lincoln Center the night before could kick back and let loose. — Marjorie Eliot Marjorie had five distinctly talented sons: Rudel, Shawn, Alfred, Michael and Phillip. The Sunday shows originated as a tribute to Phillip who passed away on a Sunday in 1992 and and began in August of 1993 outdoors on the lawn of the historic Morris Jumel Mansion. Past shows were hosted by Reverend John Garcia My boys grew up with theater and music in the people from France. The previous Sunday we Gensel, formerly of St. Peters Church on 54 home. I was raised by teachers, my parents and had people from Montreal, Canada and people Lexington Avenue. Reverend John was the foun- my aunts. Teachers are great actors and great from Germany. It’s a motivation to do things der of the Jazz Vespers Ministry at St. Peters motivational speakers. We do concerts that start better. All of your experiences matter. People Church. Marjorie hasn’t missed a Sunday since. at 4PM and 6:30PM every Sunday. Sometimes can expect that all shows start on time. The muWhen visitors walk into 555 Edgecombe we have play readings after the concerts. We sicians are very professional and that’s how the Avenue in Harlem, they are filled with a sense of have poetry on some Sundays as well. Teachers audience treats it. Its a paid gig for musicians grandeur from a past era. The building has mar- call to bring their students here for field trips. I even though everything is free. The universal ble walls and leaded-glass ceilings and was love doing things for children. On Saturday, message of music brings people together. I met a home to such greats as Count Basie, Paul Robe- December 2, 2006, at 4PM Parlor Entertainment German group and they were very stiff. By the son, Charles Buchanan, Johnny Hodges and will do a free concert for the Children’s Hospital time intermission came about they were just Andy Kirk. A young saxophonist named Sonny at Columbia Presbyterian Hospital on 165th and loose and talking away. That’s what music does. Rollins used to visit Andy Kirk here to take les- Broadway. It will feature Gerald Hayes and SeVisit Marjorie Eliot and Parlor Jazz, every sons. Ms. Eliot recalled how music at home was dric Choukroun (sax), Rudel Drears (piano/ Sunday. December Schedule: Dec. 3: Gerald just a part of what you did as a cultured person. vocals and the Musical Director for Parlor Enter- Hayes, sax; 12/10: Nabate Isles, trumpet; “I grew up before grants and all those things tainment.), Nabate Nabate Isles (trumpet) and Don Mare 12/17:David Lee Jones, sax; 12/24: Bob Cunningham, bass. For more information, visit were happening. Every month my piano teacher (bass). Other artists who have also graced our www.parlorentertainment.com or call 212-781had a recital and we played for family and friends. I came up with the concept of perform- venue include Jimmy Owens, Cecil Bridgewater, 6595. ♪ By Eric Frazier
r e i z a r F c i r E y b o t o h P
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venue review
RARE’s Lexington Lounge only jobs the Lexington Lounge did were early morning and mid afternoon meetings. The space was always empty in the evening. As a business A conversation with Ross Lombardo (Partner), man, this was unacceptable. I needed to sell this and Aoife Freeman, Manager room at night. The problem was, it looked like a classroom. It was the complete opposite of what JI: Could you talk about the development of RARE’s Lexington Lounge from concept to a swanky Jazz club should look like. The concept for the layout started with the baby grand reality? piano. It is by far the most important item purchased to create the room’s vibe. It was my faRL: I wanted to create an atmosphere that allowed guests from the hotel as well as New ther’s advice. He said, “Do not spend a dime on Yorkers to enjoy. Our restaurant gets very anything until you buy a baby grand.” Thanks crowded and can be quite loud. I felt The Lex- Dad! The rest of the design ington Lounge and the live jazz would be a nice flowed easily as I purchased alternative. I have known for a long time that navy velvet fabric and had good music attracts people. I have always loved them made into ceiling to floor curtains, added some jazz and felt it would be perfect for the space. gold ribbons to tie them off. We added benches with cushJI: Ross, you’ve had a long standing interest in jazz. Could you tell us about what sparked his ions and crushed red velvet pillows that surround the interest? room. The VIP room, or as I call it the “red room” is decoRL: I grew up listening to Glen Miller, Ella Fitzgerald, Stan Getz, Louis Armstrong, and rated with a black couch, acJohn Coltrane to name a few. I used to go and cented with red and gold pillisten to my father play the saxophone. He was a lows, and a bit of foliage. bandleader for Duchin Entertainment. The bands Very simple, this makes it were so good. It was all ad lib. They were playing from the heart. It was fascinating to watch my father lead the job. He would point to one of the musicians to stand and take a solo while they were all playing. This might have been the first time they have even played together. The musician would sim ply stand up and belt out the solo: Effortless. I was amazed at how the band created this wonderful atmosphere. People don’t realize how important music is to a party. By Winthrop Bedford
carpet soften up the room for the eye, as well as improving the sound. The musicians have told me that the room is exactly the kind of room in which they like to play in. JI:
What are the covers and minimums?
No cover charge. Two drink minimum— with fair prices. We have a full bar. RL:
Tell us about how you chose the piano for the room? JI:
I purchased a Young Chang from a couple that barely used it on the Upper West Side. I did my research. I was on such a tight budget. I was looking at a white Young Chang Baby Grand in a store for $6000. The salesman was very helpful with the information. I knew the price was too high for us and a white piano was not inviting enough for a Jazz club. Perhaps for Little Richard or Jerry Lee Lewis. I then went hunting online, and found a beautiful black Young Chang in great condition, for half the price than the one I saw in the store. I got the best piano I could for a very reasonable price. It was one of the most exciting days for me when it was delivered. I kept saying “the baby is coming today!” RL:
Who are the artists that you have featured so far? JI:
What was your concept in planning the layout and design of the club’s interior? RL:
Above top: Aoife Freeman, Manager; Ross Lombardo (one of the co-partners); Above: RARE’s Lexington Lounge (partial view)
sexy! Aoife was a tremendous help to achieve the right look.
There were limited possibilities for the room because there are no windows and the space is small. We thought that ive jazz would JI: Could you discuss the acoustics in the club? be a smart choice because it would be a nice amenity to the hotel guests. I have witnessed RL: The acoustics make a good band sound how my father’s bands created this wonderful great! The plush curtains, furniture, couches and vibe for a party. People love listening to good RARE’s Lexington Lounge music. I did my research. I went to several other 303 Lexington Ave. jazz clubs around town. Some of them were great, but some of them were just okay. I noticed at The Shelburne Hotel what worked and what did not. I felt I had the 212-481-1999 right ingredients and knowledge to, at least, take www.rarebarandgrill.com a chance. The room was so stark at first. The RL:
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December 2006 Jazz Improv Magazine’s New York Jazz Guide
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We change the bands up to keep things fresh. Bob Cranshaw, Al Gafa, Frank Gravis, and Jay Leonhart are absolute professionals. profess ionals. I am lucky to have them. Bob was the original bass player on Sesame Street and Saturday Night Live. He currently tours with Sonny Rollins and is one of the coolest men I have ever met. Al Gafa played with Dizzy Gillespie. He now plays for many Broadway Musicals. Frank Gravis is currently touring in Europe for Duchin Entertainment. Jay Leonhart played with such greats as Mel Torme and Stan Getz. I can’t say enough about these guys. They are just as good as anybody I have seen at the other jazz clubs. Actually, they may even be better. RL:
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ON THE LATIN BEAT
“Saludos” to all! By Harry Maisonette
“Saludos” to all! In this column, I will be as informative as possible on all subjects related to Latin music, Latin jazz, world beat, and a touch of jazz. All comments and or suggestions are welcomed, but please be ge ntle! I had the pleasure of spending a beautiful fall day across from Central Park in Spanish Harlem, where you’ll find the Harbor Conservatory for the Performing Arts, a division of Boys and Girls Harbor. This pre-professional institution, offering low-cost training in music, dance, and theater to over 1,300 students, was in full swing celebrating its 5 th annual “Salsa Sunday.” Welcoming the Latin Grammy’s to New York City was no small feat for director Ramon Rodriguez and curator Louis Bauzo. The conservatory was a flurry of excitement and activity. The Raices Latin Music Collection (raices means “roots” in Spanish) is on the 5th floor gallery; Afro-Puerto Rican bomba class is at studio 623; “Mr. Bang-Bang,” Joe Cuba, was being interviewed by Aurora Flores on the 3rd floor; Manny Oquendo’s Libre featuring Frankie Vazquez on the 5 th floor; and finally the “Palladium dance” featuring Louie Bauzo and The Harbor Latin Big Band. What a blast – all this for five bucks! A wonder in our era of cut-backs, this institution is an excellent resource for all those interested in the arts. Mucho thanks to Ramon and Louis. I also had a chance to stop by the Exit Art gallery on 475 10th Avenue to check out “Viva La Musica,” a celebration of 50 years of Latin music album cover art. The exhibit traces the visual history of Latino identity, culture, and aesthetics using the mediums of album art and music. The curator, Pablo Yglesias, utilized hundreds of covers and graphic artists such as Chico Alvarez, Izzy Sanabria, and Charlie Rosario. The latter is a renaissance man unto himself. Rosario paints, draws, photographs, (RARE’s Lexington Lounge—Continued from page 48)
and sculpts along with being a folkloric artisan, poet, composer and percussionist. More information about this great show can be found at ExitArt.org. On the same night, I popped into the legendary Copa Cabana in its newest incarnation on West 34th Street and 11th Avenue. The club looks very sleek, especially on Latin Tuesday’s, with lots of neon and of course lots of palm trees. An eclectic crowd all decked out in their Halloween finery and plenty of Latin ladies to dance with fill these two floors of continuous dancing. I hadn’t been there in years, and this nostalgic trip was well worth it. Long live the Copa! I got a call from Shelton Gary, drummer for the Harlem Blues and Jazz Band, jazz raconteur, and all around great guy. He invited us to the “Friendly 50 club” (Jazz Society) for the 46th Annual Harvey Davis Scholarship Fund, which provides music scholarship funds for young musicians who are interested in the study of jazz. In attendance was jazz philanthropist Cobi Narita, and her husband Paul Ash, of Sam Ash Music Stores. Narita, whose age has not slowed her down one bit, mentioned to me that other than the advancing glaucoma, arthritis, and other ailments, she was doing just fine, thank you! And off she went across the dance floor. Wow! One of the many highlights of the evening were the performances of the scholarship recipients. Alto saxophonist, Melvin Brison, showed he can hold his own and baritone saxophonist Kim Amonte sounded very smooth and mellow. But it was the piano virtuosity of y oung Miller Lulow that blew me away. Reminiscent of a young Harry Connick, Jr., this young man just ate up the keyboard with jazz elegance. He certainly has a bright future ahead of him. More music was provided by tenor saxophonist Fred Staton, the brother of singer Dakota
Staton, and his Original Jazz Gents. A wonderful evening was had by all. Producer and filmmaker Ivan Acosta presented his Latin Jazz USA Concert 2006 at Town Hall on October 19 th. Pianist-composer Maestro Edy Martinez conducted his 18-piece Latin Jazz Band, featuring in different configurations Dave Valentine, Oscar Castro Neves, and Candido Camaro. The show was a Latin jazz extravaganza, an in-the-pocket success. Look for further coverage in January. Sergio Mendes blew into town courtesy of Mark Morganelli of Jazz Forum Arts, at SUNY Purchase Performing Arts Center. Sergio, always on the cutting edge, comes full circle with his newest album, Timeless. Produced by and featuring Will. I.Am of the Black Eyes Peas, Timeless communicates loudly that Sergio and the sounds of Brazil are back. That’s the bottom line! It was a spectacular show; more to come in January. On the way to Athens, Greece, singer Frankie Vásquez stopped by to present his Salsfied Latin Vocals. “Buena Suerte,” hermano. Jimmy Delgado, master timbalero and alumni of the Ray Barretto University, stopped touring long enough to record his first solo effort in Salsa con Dulzura. This album swings from beginning to end, employing a virtual who’s who of Latin Americana. As Pacheco would say, “He’s cooking with gas.” Congratulations all around to Jimmy. And last but not least, somebody please speak to the music gods that be to get their act together at the so-called Latin Grammy’s, presented in the Big “Mango” Apple. And not a mention, a blurb, of the pioneers of Latin music in New York or the rest of this country – shame, shame, shame. Have a wonderful holiday and blessings to all. “¡Que vive la musica!”
do it great! Everyone enjoys a burger, why not set out to make the best burger possible. My partners and I are always looking for ways to improve the business. We never want to get complacent. We are also very “hands on owners”. I have never asked an employee of mine to do a job that I have not done myself. I believe I have gained a lot of respect from them this way. They have seen the owners sweeping floors, JI: Could you talk about the development of RARE, along with some of the basic business bussing tables and plunging toilets. The good understandings that you embrace which have thing about being the boss is you get to choose the 70 hours a week to work. enabled you to make it successful? The room was called the Lexington Room. I still needed to sell the idea to the hotel. The Lexington Room does not sound very inviting, so I named it the Lexington Lounge. We still needed to sell the idea to the hotel. Keeping the name similar made the transition painless. RL:
What kinds of food and drink can patrons enjoy? What kinds of plans do you have for the future. JI:
We offer complimentary salsa and chips. Food is minimal for now in the Lexington Lounge, but our restaurant Rare Bar and Grill is less than 15 feet away. You can have a bite to eat at Rare and then come to the Lexington Lounge and listen to great Jazz. Not a bad evening! RL:
JI:
How did you chose the name?
To Advertise CALL: 212-889-0853
RL:
Rare’s motto is: do something simple, but ®
Jazz Improv Magazine’s New York Jazz Guide
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calendar of events How To Get Your Gigs and Events Listed in Jazz Improv’s New York Jazz Guide & Directory Submit your listings via e-mail to
[email protected]. Include date, times, location, phone number for additional information and or ti ckets/reservat ckets/reservations. ions. DEADLINE: 14th of the month preceding publication (e.g. May 14 for June issue). Listings placed on a first come basis. Jimmy Vaas Cleopatra’s Needle 8:00pm Ken Hatfield Fetch 8:30 pm—12:00am Mingus Big Band Iridium 8:00 & 10:30pm Sedric Choukroun Seppi’s 8:30pm Sweet Rhythm Vocal Series 8:00 & 10:00pm TK Blue Dakar Restaurant 8:00pm
REGULAR ENGAGEMENTS Mondays Ari Hoenig Trio Small’s 10:00pm Cecil’s Big Band w/ Joe Elefante Cecil’s 9:00pm The Grove Street Stompers Arthur’s Tavern 8:00pm Gene Bertoncini Le Madeleine Bistro Howard Williams Orchestra Garage 8:00pm Jason Linder Big Band Fat Cat 10:00pm John Farnsworth Jazz Jam Smoke 8:00pm Les Paul & his Trio Iridium 8:00 & 10:30pm Miles Mondays Mo Pitkin’s 6:00—9:00pm New School for Jazz Sweet Rhythm 8, 10:00pm Patience Higgins Lenox Lounge 9:30pm Ron Affif Trio Zinc Bar 9:00, 11:00pm, 12:30, 2AM Scott Whitfield Jazz Orchestra Birdland 5:30pm Vanguard Jazz Orchestra V. Vanguard 9:30 & 11:30pm Tuesdays Anat Cohen & Friends Jules Bistro 8:30pm Bruce Williams Jam Session Cecil’s 9:00pm David Ostwald, Birdland 5:30pm Dekel Bor Trio Charley O’s 8:00pm Duke Ellington Orchestra Birdland 9:00 & 11:00 pm George Gee Big Band Swing 46 8:30pm-11:30pm Gene Bertoncini Le Madeleine Bistro Grant Stewart, Joe Cohn Quintet Small’s 10:00pm Fatt Cat Cat 10 10:00 :00 & 11:3 11:30p 0pm m Greg Tardy Group Fa Hammond B3 Organ Grooves Smoke 9, 11, 12:30am
Wednesdays Arturo O’Farrill Sextet Birdland 9:00 & 11:00 pm Francina Connors’ “Uptown Jazz” Penang 8:00pm Myron Walden, Danny Barrett Fat Cat 10, 11:30pm Nathan & Max Lucas Organ Trio Lenox Lounge 6:00pm Thursdays Eddie Martinez Big Band Fat Cat 10:00 & 11:30 pm Manhattan Ragtime Orchestra The Cajun 8:00pm Pam Purvis Savoy Grill 5:30—7:30pm Sedric Choukroun Brasserie Julien 7:00pm Tammy Shoji Open Jam Cleopatra’s Needle 7:30 &
9:30pm Wayne Krantz 55 Bar 9:30pm Fridays Canal Street Dixieland Jazz/Blues Band Cajun 8:00pm Sedric Choukroun Brasserie Julien 7:00pm Tommy Igoe’s FNBB Birdland 5:50—7:30pm Saturdays Alan Jay Palmer & New Soil Band Creole 9:00pm Alex Donner Big Band Café Carlyle 5:30pm Brazilian Bossa Jazz Zinc 10:00 & 11:30pm, 1:00am John Colianni and Tira Table XII 7:30—11:30pm Sedric Choukroun Brasserie Julien 7:00pm Whitney Moulton Trio Perks 7:00—11:00pm Sundays Brazilian Samba Jazz Zinc 10:00 & 11:30pm, 1:00am Bob Kindred, J. Hart, S. LaSpina Café Loup 12:30—3. Chico O’Farrill Afro-Cuban Jazz Big Band Birdland
9:00 & 11:00 pm Choro Ensemble Jules Bistro 8:30pm—11:00pm Chris Washburne Band Smoke 9, 11, 12:30am David Coss & Trio Garage 7:00pm Gospel Brunch Buffett Iridium 11:30am—3:00pm Jazz Standard Youth Orchestra Jazz Standard 2:00pm Pam Purvis/Bob Ackerman Cecil’s Jazz Club 5:9:00pm Planet Jazz feat. P. Bernstein, J. Magnarelli, S. Wilner, N. Miner Small’s 10:00pm Rudell Drears, Sedric Choukroun & Marjorie Elliot
Parlor Entertainment 4:00pm Shawn Aileen Clark Barmarche 7:00pm—11:00pm Singer’s Open Mic Cleopatra’s Needle 4:00—8:00pm Toru Dodo Jam Cleopatra’s Needle 4:00pm Zaid Nasser Jam Session Fat Cat 10:00 & 11:30pm
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Fri 12/1: Tommy Igoe’s Friday Night Big Band at Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St. The FNBB roars into action every Friday, playing the finest Jazz, Latin and Brazilian music from the worlds best arrangers. After work or before a show, drinks or a great dinner, come hear one of the worlds best drummers driving the hardest swinging band in New York. Experience why the FNBB is fast becoming the must-see weekly jazz event in New York and kick off your weekend with what critics are calling “The best live music bargain in all of NYC!” Visit TommyIgoe.com for surprise special guest line-up. Sun & Mon 12/3 12/4: Gene Bertoncini at Le Madeleine
November 2006 Jazz Improv Magazine’s New York Jazz Guide December
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Bistro. 403 W. 43rd St. www.genebertoncini.com Fri 12/1: Jazz Jam Opening Ceremony at The Little Theater. Reception at 7:00 pm. Performance at 8:00 pm.
LPAC Box office: 718 482-5151. Visit us at www.lagcc.cuny.edu/lpac. Fri 12/1: Deanna Kirk Quartet at Enzo's Jazz at The Jolly Hotel Madison Towers. 22 East 38th St. at Madison Ave. (212) 802 0600. In the Whaler Bar located in the Lobby. Complimentary antipasti served by Ristorante Cinque Terre. $15. cover, 1 drink min. Sets are at 8pm and 9.30pm. Fri 12/1: Enrico Granafei at Greenwich Village Bistro.
[email protected]. 212-206-9777. Fri 12/1-Sat 12/2: Russ Nolan at the River Room of Harlem 145th and Riverside Dr. 212-491-1500. Sat 12/2: Klezmer Madness! Celebrates David Krakaur’s 50th birthday at Carnegie Hall. 57th St. & 7th Ave. Zankel Hall, 7:30 pm. Sat 12/2: Dekel Bor Trio & Paul Speciale Combo at Greenwich Village Bistro. -206-9777. Sat 12/2: Steven Maglio & The Stan Rubin Orchestra perform “Sinatra Songs” at the Carnegie Club. 8:30 & 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min. Res: 212-957-9676. Sat 12/2: Vocal Artist/Composer/Poet Nora McCarthy in RED VOX at the Cornelia Street Café with Dominic To Advertise CALL: 212-889-0853
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Duvall, Brian Wilson. New & Original Music. 6PM - 8PM. 20 Cornelia Street, (bet W. 4th/Bleecker Sts). cover: $15. 212-989-9319. Sun 12/3: The Barry Harris Trio with Singers at St. Philip's Church Undercroft. 3 pm - 6 pm. 204 West 134 St. 212-862-4940.Donation: $20 www.stphilipsharlem.dioceseny.org. Sun 12/3: Bob Kindred Trio at Café Loup. A Jazz Brunch from heaven. 12:30--3:30pm. No Cover. Bob Kindred, Steve LaSpina, John Hart. 105 W. 13th St., (bet 6th/7th Aves). 212-255-4746. www.bobkindred.com. Sun 12/3: Dee Pop presents: Freestyle Jazz at Jimmy's Restaurant. 43 East 7th St. 212-982-3006. Daniel Levin, Matt Moran, Peter Bitenc, Nate Wooley @ 7 pm and Joe Fiedler Trio @ 9 pm. $10 at door. 1 drink min. Sun 12/3: Jazz Mass with The Brenda Earle Quartet at St. Peter’s Church. 5 pm. Lexington Ave @ 54th St. www.saintpeters.org/jazz. 212-935-2200. Free. Sun 12/3: Gerald Hayes, sax at Parlor Entertainment Jazz, with Marjorie Eliot , piano; Rudell Drears, piano; Sedric Choukroun, sax; Bob Cunningham, bass. 555 Edgecombe Ave, #3F, (bet 159th &160th St). 212 781 6595. Free Admission. www.parlorentertainment.com. Mon 12/4: Mannahatta Jazz on the Bowery. Kelley Suttenfield @ 7, Seth Fruiterman @ 8, Aimee Allen @ 9, & Steve Slagel w/ Craig Hartley Trio @ 10. 316 Bowery (at Bleecker St.) 212-253-8644. www.mannahatta.us. No cover. Mon 12/4: Vocalist Amy Cervini at Jazz Standard. $15. 7:30 & 9:30 pm. 116 E. 27th Street bet. Lexington and Park Aves. 212 576 2232. Mon 12/4: Yamaha Day of Trumpets . Open Instrument Testing : 11:00 am - 2:00 pm. Marvin Stamm clinic: 2:00 pm - 3:00 pm. Tiger Okoshi clinic: 3:15 pm - 4:15 pm. Evening Concert: 7:00 pm - 8:30 pm, Brian Lynch and his quartet with special guest Tiger Okoshi. All events are free and open to the public, but seating is limited to the first 150 people. R.S.V.P. today by sending an e-mail to:
[email protected] Clinics/Concert will be held on the 3rd floor. Open instrument testing will be held on both the 3rd and 11th floors.
To Advertise CALL: 212-889-0853
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Tue 12/5: Acoustic Jazz Tuesdays with Ken Hatfield at Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 – 11:30 pm. 1649 Third Avenue between 92nd and 93rd Streets, New York City 212-289-2700 / No cover. www.kenhatfield.com. Tue 12/5: Shaynee Rainbolt at the Metropolitan Room with Neal Kirkwood, Piano; Tom Hubbard, Bass; Jeff Brillinger , Drums; Chris Rogers, Trumpet; Dave Riekenberg, Saxophone...and Special Guest: Jazz Vocalist, Judy Barnett. Cover: $20/$15 for MAC and Cabaret Hotline Online Members (2 drink Min). 4 West 22nd St., NYC. Res: 212-206-0440. www.metropolitanroom.com. Tue 12/5: Mannahatta Jazz on the Bowery. Mary Gatchell @ 7, Mychele Colleary @ 8, Grady Tate @ 9, & The Michael Karrtet w/ Ron Afif & Victor Jones @ 10:30. 316 Bowery (at Bleecker St.) (212) 253-8644. www.mannahatta.us. No cover. Tue 12/5: Rob McCrone at Greenwich Village Bistro.
[email protected]. 212-206-9777. Tue 12/5: Martha Lorin Jazz Quartet at The Metropolitan Room. 34 West 22nd St. (Bet. 5th & 6th Aves). Reservations: (212) 206-0400. 9:00 pm. $20 music charge. Tue 12/5: Jupiter String Quartet at Merkin Concert Hall at Kaufman Center. 129 West 67th Street (bet. Bway & Amsterdam Ave). Tkts: 212 501 3330 or www.merkinconcerthall.org. 2pm. Tue 12/5: Martha Lorin Jazz Quartet at Metropolitan Room at Gotham. 34 West 22nd St. (bet. 5th & 6th Aves.) Reservations Suggested: (212) 206-0400. 9 pm. $20. Tue 12/5: First Tuesdays: Free Seminar for All Musicians: "Promote Yourself: Web-based Marketing" w/ Jim Eigo, jazz industry expert at St. Peter’s Church. Lexington Ave @ 54th St. 212-395-2200. Free. 3 pm. Wed 12/6: Avi Rothbard at the Ethiopian Restaurant. The program will include repertoire of the American Songbook and Jazz classic for solo guitar. 7:30 to 10:00 pm. 1582 York Ave bet. 83rd and 84th St. Reservations: (212) 717-7311. Wed 12/6: Deanne Gorman Jazz Quartet at Enzo's Jazz at The Jolly Hotel Madison Towers. 22 East 38th St. at Madison Ave. (212) 802 0600. In the Whaler Bar located
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in the Lobby. Complimentary antipasti served by Ristorante Cinque Terre. $15. cover, 1 drink min. Sets are at 8pm and 9.30pm. Wed 12/6: Ted Rosenthal Trio at the Kitano Hotel. 66 Park Ave. @ 38th St. 7:30 & 9:15 pm. Wed 12/6: Jazz vocalist Tierney Sutton is singing I'm With The Band at Birdland. 315 W. 44th St. bet. 8th & 9th Aves. 212 581 3080. 9 pm & 11 pm. $10 min. Wed 12/6: Brian Van Arsdale Quartet at Greenwich Village Bistro. 212-206-9777. Wed 12/6: Midtown Jazz at Midday with Tomas Janzon and Ken Filiano at St. Peter’s Church. 1 pm. Lexington Ave @ 54th St. 212-395-2200. Free. Thu 12/7: Sachal Vasandani Group at Sweet Rhythm. 88 Seventh Avenue South between Grove and Bleecker Streets. Thu 12/7: New Sounds Live hosted by John Schaefer: Anonymous 4 at Merkin Concert Hall at Kaufman Center. 129 West 67th Street (bet. Bway & Amsterdam Ave). Tkts: 212 501 3330 or www.merkinconcerthall.org. 8 pm.
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Thu 12/7: Jack Kleinsinger presents Highlights in Jazz, Buddy DeFranco. Howard Alden. Derek Smith Randy Sandke. Rufus Reid. Ed Metz Jr. New York's Longest Running Jazz Concert Series at Tribeca Performing Arts Center. 8 pm. The tickets are $30.00 and $27.50, for students. (212) 220-1460. Thu 12/7: Steve Hudson's Outer Bridge Ensemble at the Knitting Factory. Tap Bar, 12 am. 74 Leonard St. (212) 219-3006. Thu 12/7: Steve Husted Quartet at Greenwich Village Bistro. 212-206-9777. Fri 12/8: Tommy Igoe’s Friday Night Big Band at Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St. “The best live music bargain in all of NYC!” Visit TommyIgoe.com for surprise special guest line-up. Fri 12/8: Michelle Walker Quartet at Enzo's Jazz at The Jolly Hotel Madison Towers. 22 East 38th St. at Madison Ave. (212) 802 0600. In the Whaler Bar located in the Lobby. Complimentary antipasti served by Ristorante Cinque Terre. $15. Cov. 1 drink min. Sets: 8pm & 9.30pm. Fri 12/8: Paul Speciale Combo at Greenwich Village Bistro. 212-206-9777. Fri 12/8: Eric Frazier at National Black Theater . 8 pm. 2031 5th Avenue. Info: 212-722-3800. Fri 12/8-Sat 12/9: Sanni Orasmaa at the River Room of Harlem 145th and Riverside Dr. 212-491-1500. Fri 12/8-Sat 12/9: Paul Carlon Octet at Fat Cat. 75 Christopher St. 10:00 p.m. - 1:30 a.m. $15; $10 for students. www.fatcatjazz.com . Sat 12/9: Reissue: Classic Recordings Live feat. Animation: Miles Davis's Bitches Brew at Merkin Concert Hall at Kaufman Center . 129 West 67th Street (bet. Bway & Amsterdam Ave). Tkts: 212 501 3330 or www.merkinconcerthall.org. 8pm. Sat 12/9: Bill Toms and Friends at Greenwich Village Bistro. 212-206-9777. Sat 12/9: Shaynee Rainbolt at the Metropolitan Room Give Me A Voice: A Benefit for Oprah's Angel Network to aid the still suffering victims of Hurricane Katrina with Annie Ross, Branden Cutrell, Thos Shipley, Rick
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Jensen, John D'marco, Jeanne Mcdonald, Mary Foster Conklin, Karen Mack, Terese Genecco, Cynthia Crane & Kristine Zbornik. 5:00pm. 34 West 22nd St., •
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NYC. Res: 212-206-0440. www.metropolitanroom.com. Sat 12/9: Joe Locke and Geoffrey Keezer at AC Pianocraft Showroom. 333 West 52nd St. bet 8th & 9th Ave. 9:00pm - 10:15pm, & 10:45pm - 12:00am. @ website $20.00 cover: www.instantseats.com; @ Door $25.00 cover. Phone: 212-397-5298 Ex.22 or
[email protected] Sat 12/9: Steven Maglio & The Stan Rubin Orchestra perform “Sinatra Songs” at the Carnegie Club. 8:30 & 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min. Res: 212-957-9676. Sun 12/10: Nabate Isles, trumpet at Parlor Entertainment Jazz, with Marjorie Eliot , piano; Rudell Drears, piano; Sedric Choukroun, sax; Bob Cunningham, bass. 555 Edgecombe Ave, #3F, (bet 159th &160th St). 2pm— 6pm. 212 781 6595. Free Admission . www.parlorentertainment.com Sun 12/10: Jazz Vespers with Okaru Lovelace & Friends at 5 pm and Jazz Concert with Reggie Workman's Sculptured Sounds at 7:30 pm at St. Peter’s Church. Lexington Ave @ 54th St. 212-395-2200. (Suggested donation: $20). Sun 12/10: Bob Kindred Trio at Café Loup. A Jazz Brunch from heaven. 12:30--3:30pm. No Cover. Bob Kindred, Steve LaSpina, John Hart. 105 W. 13th St., (bet 6th/7th Aves). 212-255-4746. www.bobkindred.com. Sun 12/10: Rocco at Greenwich Village Bistro.
[email protected]. 212-206-9777. Sun 12/10: Reggie Workman's Sculptured Sounds Preview Concert feat. Trio 3; Billy Harper feat. The New School Vocal Ensemble; The Juhani Aaltonen Trio . Pre-concert Art Exhibit Discussion by Musician/Artists Oliver Lake and Dick Griffin. St. Peter's Church (619 Lexington Ave.,@ E.54th St.), 7pm. Sugg. Donation $20. For info: (212 642-5277). Sun & Mon 12/10 12/11: Gene Bertoncini at Le Madeleine Bistro. 403 W. 43rd St. www.genebertoncini.com
November 2006 Jazz Improv Magazine’s New York Jazz Guide December
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Mon 12/11: Sachal Vasandani Group at Zinc Bar . 7:309 pm. 90 West Houston Street. Mon 12/11: International Women in Jazz at St. Peter’s Church. Lexington Ave @ 54th St. 212-395-2200. 7 pm. Mon 12/11: Steve Nelson at Merkin Concert Hall at Kaufman Center. 129 West 67th Street (bet. B’way & Amsterdam Ave). Tkts: 212 501 3330 or www.merkinconcerthall.org. 8 pm. Mon 12/11: Andrew McCain at Greenwich Village Bistro. 212-206-9777. Mon 12/11: VandoJam with our American distributor DANSR. "The best Jazz value" in New York….FREE! Iguana Restaurant 240 W. 54th Street. 8pm to midnight. For more information, call 212-399-9457. Tue 12/12: Baano at Sweet Rhythm with Frank Owens, Earl May & Jackie Williams. 88 Seventh Avenue So. @ Bleeker. 8:00 & 9:30pm. $15 cover; $10 drink/food min. Info: 212-255-3626. Tue 12/12: Rob McCrone at Greenwich Village Bistro .
[email protected]. 212-206-9777. Tue 12/12: Acoustic Jazz Tuesdays with Ken Hatfield at Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 – 11:30 pm. 1649 Third Avenue between 92nd and 93rd Streets, New York City 212-289-2700 / No cover. www.kenhatfield.com. Wed 12/13: Avi Rothbard at the Ethiopian Restaurant. The program will include repertoire of the American Songbook and Jazz classic for solo guitar. 7:30 to 10:00 pm. 1582 York Ave bet. 83rd and 84th St. Reservations: (212) 717-7311. Wed 12/13: Mary Foster Conklin and John DiMartino at Midtown Jazz at Midday at St. Peter’s Church. 1 pm. 619 Lexington Avenue at 54th Street. www.saintpeters.org. Wed 12/13: Nerissa Campbell at Enzo's Jazz at The Jolly Hotel Madison Towers. 22 East 38th St. at Madison Ave. (212) 802 0600. In the Whaler Bar located in the Lobby. Complimentary antipasti served by Ristorante Cinque Terre. $15. cover, 1 drink min. Sets are at 8pm and 9.30pm. Wed 12/13: Mannahatta Jazz on the Bowery. The Mi-
To Advertise CALL: 212-889-0853
chael Karrtet w/ Ron Afif Afif & Victor Jones Jones @ 10:30. 316
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Bowery (at Bleecker St.) 212-253-8644. www.mannahatta.us. No cover. Wed 12/13: Paul Speciale Combo & Minetta Creek Bluegrass at Greenwich Village Bistro.
[email protected]. 212-206-9777. Thu 12/14: Ted Hefko at Greenwich Village Bistro.
[email protected]. 212-206-9777. Fri 12/15: Tommy Igoe’s Friday Night Big Band at Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St. “The best live music bargain in all of NYC!” Visit TommyIgoe.com for surprise special guest line-up. Fri 12/15: Mark Pender Band at The Cutting Room. 19 W 24th St. 212-691-1900. Fri 12/15: Paul Speciale Combo & Tarana Collective at Greenwich Village Bistro. 212-206-9777. Fri 12/15: Pianist Laszlo Gardony celebrates Sunnyside CD Natural Instinct with acoustic performance at the Rubin Museum of Art . Tickets $15 in advance or $20 at door. (212) 620-5000 ext. 344. www.rmanyc.org. Fri 12/15-Sat 12/16: Sylvia Cuenca, Ed Cherry, and Jared Gold at the River Room of Harlem 145th and Riverside Dr. 212-491-1500. Sat 12/16: Rocco at Greenwich Village Bistro.
[email protected]. 212-206-9777. Sat 12/16: Steven Maglio & The Stan Rubin Orchestra perform “Sinatra Songs” at the Carnegie Club. 8:30 & 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min. Res: 212-957-9676. Sun 12/17: David Lee Jones, sax sax at Parlor Entertainment Jazz, with Marjorie Eliot , piano; Rudell Drears, piano; Sedric Choukroun, sax; Bob Cunningham, bass. 555 Edgecombe Ave, #3F, (bet 159th &160th St). 212 781 6595. Free Admission. www.parlorentertainment.com
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Sun 12/17: Family Matinees feat. the Poppy Seed Players and the Kaufman Kids, Latkes and Applesauce: A Hanukkah Revue at Merkin Concert Hall at Kaufman Center. 129 West 67th Street (bet. Bway & Amsterdam Ave). Tkts: 212 501 3330 or www.merkinconcerthall.org. Sun 12/17: Jazz Vespers with Anna Dagmar Trio at 5 pm and Jazz Concert with Havana Carbo Quartet: "Remembering Tom and Chet" at 7 pm at St. Peter’s Church. Lexington Ave @ 54th St. 212-395-2200. Sun 12/17: Paul Speciale Combo & Hiroko Kanna Trio at Greenwich Village Bistro. 212-206-9777. Sun 12/17: Dee Pop presents: Freestyle Jazz at Jimmy's Restaurant. 43 East 7th St. 212-982-3006. Paloma Recio: Ben Monder, Tony Malaby, Eivind Opsvik, Nasheet Waits. $10 at door. 1 drink min. Sun & Mon 12/17 12/18: Gene Bertoncini at Le Madeleine Bistro. 403 W. 43rd St. www.genebertoncini.com Sun 12/17: Bob Kindred Trio at Café Loup. A Jazz Brunch from heaven. 12:30--3:30pm. No Cover. Bob Kindred, Steve LaSpina, John Hart. 105 W. 13th St.,
(bet 6th/7th Aves). 212-255-4746. www.bobkindred.com. Mon 12/18: Andrew McCain at Greenwich Village Bistro. 212-206-9777. Tue 12/19: Rob McCrone at Greenwich Village Bistro .
[email protected]. 212-206-9777. Tue 12/19: Acoustic Jazz Tuesdays with Ken Hatfield at Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 – 11:30 pm. 1649 Third Avenue between 92nd and 93rd Streets, New York City 212-289-2700 / No cover. www.kenhatfield.com. Wed 12/20: Midtown Jazz at Midday’s Annual Christmas Program at 1 pm and The Duke Ellington Society’s Holiday Party with Live Music feat. Joe Temperley, Junior Mance and others at 7 pm sat St. Peter’s Church. Lexington Ave @ 54th St. 212-395-2200. Wed 12/20: Paul Speciale Combo & Michael Louis
To Advertise CALL: 212-889-0853
at Greenwich Village Bistro.
[email protected]. 212-206-9777. Wed 12/20: Mannahatta Jazz on the Bowery. The Michael Karrtet w/ Ron Afif Afif & Victor Jones Jones @ 10:30. 316 Bowery (at Bleecker St.) 212-253-8644. www.mannahatta.us. No cover. Wed 12/20: Avi Rothbard at the Ethiopian Restaurant. The program will include repertoire of the American Songbook and Jazz classic for solo guitar. 7:30 to 10:00 pm. 1582 York Ave bet. 83rd and 84th St. Reservations: (212) 717-7311. Thu 12/21: Mari Rosa at Greenwich Village Bistro.
[email protected]. 212-206-9777. Fri 12/22: Tommy Igoe’s Friday Night Big Band at Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St. “The best live music bargain in all of NYC!” Visit TommyIgoe.com for surprise special guest line-up.Fri 12/22: Karen Stachel Jazztet at Big Apple Jazz / EZ's Woodshed. 2236 Adam Clayton Powell, Jr. Blvd. (7th Ave.) (bet. 131st and 132nd st.). (212) 283-JAZZ (5299). http:// www.bigapplejazz.com. 5:30pm. Fri 12/22: Paul Speciale Combo at Greenwich Village Bistro. 212-206-9777. Fri 12/22-Sat 12/23: Charenee Wade at the River Room of Harlem 145th and Riverside Dr. 212-491-1500. Sat 12/23: Bob Dorough presents School House Rock, Blue Xmas and All That Jazz at Joe’s Pub. 7 pm. $20. http://www.bobdorough.com. Sat 12/23: Steven Maglio & The Stan Rubin Orchestra perform “Sinatra Songs” at the Carnegie Club. 8:30 & 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min. Res: 212-957-9676. Sun 12/24: Bob Cunningham, bas basss at Parlor Entertainment Jazz, with Marjorie Eliot , piano; Rudell Drears, piano; Sedric Choukroun, sax. 555 Edgecombe Ave, #3F, (bet 159th &160th St). 212 781 6595. Free Admission. www.parlorentertainment.com. Sun 12/24: Bob Kindred Trio at Café Loup. A Jazz Brunch from heaven. 12:30--3:30pm. No Cover. Bob Kindred, Steve LaSpina, John Hart. 105 W. 13th St., (bet 6th/7th Aves). 212-255-4746. www.bobkindred.com. Sun 12/24: Jazz Vespers with Lessons and Carols with Ike Sturm & Friends and Saint Peter's Choir at St. Peter’s Church. 5 pm. Lexington Ave @ 54th St. 212395-2200. Sun 12/24: Gene Bertoncini at Le Madeleine Bistro. 403 W. 43rd St. www.genebertoncini.com Tue 12/26: Dave Stryker Organ Trio at The Jazz Standard. $30. 7:30 & 9:30 pm & 11:30 pm Fri & Sat. 116 E. 27th Street bet. Lexington and Park Aves. 212 576 2232. Wed 12/27: Avi Rothbard at the Ethiopian Restaurant. The program will include repertoire of the American Songbook and Jazz classic for solo guitar. 7:30 to 10:00 pm. 1582 York Ave bet. 83rd and 84th St. Reservations: (212) 717-7311. Wed 12/27: Mannahatta Jazz on the Bowery. The Craig Hartley Trio w/ Special Guest @ 7 & The Michael Karrtet w/ Ron Afif & Victor Jones @ 10. 316 Bowery (at Bleecker St.) 212-253-8644. www.mannahatta.us. Wed 12/27: Midtown Jazz at Midday with Bill Mays at St. Peter’s Church. Lexington Ave @ 54th St. 212-3952200. 1 pm. Wed 12/27: Eric Holland Trio at Greenwich Village Bistro. 212-206-9777. Thu 12/28: Claudio Marc Antonio at Greenwich Village Bistro. 212-206-9777. Fri 12/29: Tommy Igoe’s Friday Night Big Band at Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St. “The best live music bargain in all of NYC!” Visit TommyIgoe.com for surprise special guest line-up. Fri 12/29: The Ron Vincent Trio feat. Jay Azzolina & Dean Johnson at the River Room of Harlem 145th and Riverside Dr. 212-491-1500. Sat 12/30: Steven Maglio & The Stan Rubin Orchestra perform “Sinatra Songs” at the Carnegie Club. 8:30 & 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min. Res: 212-957-9676. Sun 12/31: Bob Kindred Trio at Café Loup. A Jazz Brunch from heaven. 12:30--3:30pm. No Cover. Bob Kindred, Steve LaSpina, John Hart. 105 W. 13th St., (bet 6th/7th Aves). 212-255-4746. www.bobkindred.com. Smith
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Sun 12/31: Guitarist Ken Hatfield and violinist Rob Thomas join drummer/percussionist extraordinaire Vanderlei Pereira for Jazz Brunch at the Red Eye Grill. 890 Seventh Avenue at 56th Street December 31, 12:00 noon – 3:00 pm. 212-541-9000. www.kenhatfield.com. Sun 12/31: Jazz Vespers: New Year's Eve Extravaganza w/ the Pete Zimmer Quartet at St. Peter’s Church. Lexington Ave @ 54th St. 5 pm. 212-395-2200.
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Thu 12/21: Eric Frazier at Erasmus Hall H.S. 911 Flatbush Ave. Info: 718-282-7804. 11:30 pm. Thu 12/21: Kelsey Jillette Group at Jazz at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 pm, 2 sets. Cover: Suggested Donation $5. Sat 12/23: Cosmo D at Jazz at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 pm, 2 sets. Cover: Suggested Donation $5. Thu 12/28: Seeung-Hee Quartet at Jazz at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 pm, 2 sets. Cover: Suggested Donation $5. Sat 12/27: Jazzy Brass for Christmas with Eddie Allen,
Brooklyn Sat 12/2: Steve Lyman Quartet at Jazz at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. Cecil Bridgewater, Linda Blacken, Clark Gayton, 8:30 pm, 2 sets. Cover: Suggested Donation $5. Joseph Daley, Dwayne "Cook" Broadnax at Brooklyn www.theperchcafe.com. Children’s Museum. 1:30pm & 3:00pm. 145 Brooklyn Ave. Sun 12/3: Oran Etkin / Rodney Siau Quartet at Food 4 (at St. Marks Ave.) Info: 718-735-4420. All concerts are Thought. 3:00pm. 445 Marcus Garvey (corner of Macopen to the public. donough, near Fulton) in > Bed-Stuy. Take A train to Fri 12/29: Eric Frazier at The Williamsburg Jazz CenUtica. www.myspace.com/food4thoughtcafe. ter . 529 Bedford Ave. 8 pm. Info: 646-957-4487. www.oranetkin.com. Mon 12/4: Zach Brock Trio at Jazz at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 Queens Queens Jazz Trail Tour. Tour. First Sat. of ea. month, month, 1:00— pm, 2 sets. Cover: Suggested Donation $5. 4:00pm. $30/$25 members. Hop aboard the Flushing Tue 12/5: Angela Bingham Trio at Jazz at The Perch Town Hall Trolley—a fascinating journey through Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. neighborhoods where Louis Armstrong, Dizzy Gillespie, 8:30 pm, 2 sets. Cover: Suggested .Don: $5 Count Basie, Billie Holiday, Ella Fitzgerald, John Coltrane Wed 12/6: Trumpeter Ron Horton at Barbes with Ben lived. Includes guided visit to newly restored Louis ArmAllison, Tom Beckham, Michael Blake, Gerald strong House and Museum. SPECIAL OFFER: Jazz by Cleaver . 8pm. Cover: $8. 376 9th St. (corner of 6th Ave.) Night and Day! $40/$35 for members! Experience Friday Park Slope. 718.965.9177 Night Intimate Jazz Concert in Flushing Town Hall GalWed 12/6: Ben Allison Quartet at Barbes with Ron lery, take the Queens Jazz Trail Tour following afternoon, Horton, Steve Cardenas and Gerald Cleaver . 8pm. one low price. www.flushingtownhall.org/jazztrail.html. Cover: $8. 376 9th St. (corner of 6th Ave.) Park Slope. Louis Armstrong House and Museum. Guided tours daily 718.965.9177 through Louis and Lucille Armstrong's home. Now a Thu 12/7, 14, 21, 28: Eric Frazier at Savy's Restaurant, museum, the home is in pristine condition and it’s a big 330 Myrtle Ave. Bklyn. Info: 728-403-0155. 8PM. time warp, to say the least! Most notable is the kitchen Thu 12/7: O’Leary/Lightcap/Cleaver at Jazz at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788BOB ACKERMAN & PAM PURVIS 2830. 8:30 pm, 2 sets. Cover: Suggested Donation $5. Fri 12/8: Rhythm 'n' Strings at Freddy's Backroom. 10 EVERY SUNDAY pm. 485 Dean Street. 718.622.7035. Dec. 3, 10, 17, & 24th & 31st 5:00—8:30pm Sat 12/9: Melissa Stylainou Quartet at Night and Day Cecil’s Jazz Club & Restaurant Restaurant. 9:30pm $8 cover. 230 5th Ave. melissastyliCool Vibe, Comfortable Seating and Great Food & Dri nks! anou.com. 364 Valley Road, West Orange, NJ 973-736-4800 www.pampurvis.com • www.bobackerm www.bobackermansaxophones.com ansaxophones.com Sun 12/10: Oran Etkin / Rodney Siau Quartet at Food 4 Thought. 3:00pm. 445 Marcus Garvey (corner of Macdonough, near Fulton) in > Bed-Stuy. Take A train to and the mirrored bathroom Louis taped himself in every Utica. www.myspace.com/food4thoughtcafe. room and he’ll give you a tour of the man behind the entertainer. Info: 718-478-8274 or www.satchmo.org. Mon 12/11: Melissa Stylianou Trio feat. Steve Check schedule. A must see. Cardenas on guitar at Bar Next Door . 8:00pm - 11:30pm $8. 129 MacDouglas Street. http://lalanternacaffe.com. Wed 12/13: Eric Frazier at Queensboro Community College. 223rd St & 56 Ave. Info: 718-631-6262. 1 pm. Mon 12/11: Zach Brock Trio at Jazz at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 Sat 12/16: Jazzy Brass for Christmas with Eddie Allen, pm, 2 sets. Cover: Suggested Donation $5. Cecil Bridgewater, Linda Blacken, Clark Gayton, Joseph Daley, Dwayne "Cook" Broadnax at Langston Tue 12/12: Brenda Earle Trio at Jazz at The Perch Hughes Library. 2:00pm. 126 100-01 Northern Blvd., Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. Corona. Info: 718-651-1100. All concerts open to public. 8:30 pm, 2 sets. Cover: Suggested Donation $5. Wed 12/13: Steve Hudson's Outer Bridge Ensemble at Puppets Jazz Bar , Park Slope. 9:15, 10:40, & 12. Westchester www.stevehudsonmusic.net. www.puppetsjazz.com. Sat 12/2: Ted Rosenthal - Warren Vache Duo at Mt. Thu 12/14: Yoon Sun Choi & the E-String Band at Jazz Kisco Public Library. 100 E. Main St. Mt. Kisco. 2:00 at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) pm. (718) 788-2830. 8:30 pm, 2 sets. Cover: $5. Sat 12/16: Jazzy Brass for Christmas with Eddie Allen, New Jersey Cecil Bridgewater, Linda Blacken, Clark Gayton, Fri 12/1: Joey DeFrancesco Trio at the Peddie School. Joseph Daley, Dwayne "Cook" Broadnax at Brooklyn 8 p.m. in the Mount-Burke Theatre at the Peddie School. Music School. 6:00pm. 126 St. Felix St. Blkyn. Info: 718There will be a free, pre-concert chat with the artist from 638-5660. All concerts are open to the public. 7:00-7:30 p.m. in the theater. Tickets for the concert are Sat 12/16: Deandra Hart at Jazz at The Perch Café. 365 $15. Season subscriptions are $50 and include four 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 pm, 2 performances. Other performances on this series include sets. Cover: Suggested Donation $5. Taylor Eigsti and Julian Lage on March 2, and vocalist Sun 12/17: Oran Etkin / Rodney Siau Quartet at Food 4 Rachael Price and her quartet on April 13. For more Thought. 3:00pm. 445 Marcus Garvey (corner of Macinformation or tickets, please call (609) 490-7550, email donough, near Fulton) in > Bed-Stuy. Take A train to
[email protected] or log onto www.peddie.org/capps. Utica. www.myspace.com/food4thoughtcafe. Fri 12/1: Pianist Fred Fischer at Watchung Arts CenMon 12/18: Zach Brock Trio at Jazz at The Perch Café. ter: Located on the Watchung Circle. Info: (908) 753365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 0190. Reservations suggested. Tickets are held held at the pm, 2 sets. Cover: Suggested Donation $5. door. $13. Tue 12/19: Amy Cervini Quartet at Jazz at The Perch Fri 12/1: Ted Rosenthal in Solo Concert , "Jazzing up Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. the Classics" with The Discovery Orchestra, "Intimate 8:30 pm, 2 sets. Cover: Suggested Donation $5. Evenings". Far 8:30 pm. Hills. www.theperchcafe.com. •
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November 2006 Jazz Improv Magazine’s New York Jazz Guide December
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Thu 12/7 Nicole Pasternak w/ guitarist Carmine Marinoat at Clemens Restaurant. 7:30-9:30 pm 4 Long Ridge Road, West Redding, CT 06896. 203-9388300 www.clemensrestaurant.com. Tue 12/12: Nicole Pasternak w/ guitarist Carmine Marinoat at Bistro Du Soleil . 7:30-9:30 pm 120 Washington St., So. Norwalk, CT. 203-855-9469. www.nicolepasternak.com. Thu 12/14: Nicole Pasternak w/ guitarist Carmine Marinoat at Clemens Restaurant. 7:30-9:30 pm 4 Long Ridge Road, West Redding, CT 06896. 203-9388300 www.clemensrestaurant.com. Fri 12/22: Nicole Pasternak w/ the Harold Zinno Zinno Quintet: Harold Zinno (t, fl); Bill Cofrances (as, ts); Doug Schlink (p); John Mobilio (b); Jack Varanelli (d) at the Silvermine Tavern. $5 cover. 9:00-11:30pm 194 Perry Ave., Norwalk, CT 06850. 203-847-4558. www.silverminetavern.com
Upcoming Performances www.discoveryorchestra.org. Sat. 12/2: Tony Mennella and Dick Braytenbah Trio at Thu 1/4: Salute to Lou Donaldson with the Cyrus ChestHopewell Valley Bistro. No cover. $15 min. 7-10pm. nut Trio. 8 pm. At the Tribeca Performing Arts Center . Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609Sat. 1/6: Tony Mennella and Dick Braytenbah Trio at 466-9889. Hopewell Valley Bistro. No cover. $15 min. 7-10pm. Mon 12/4: Elite Syncopation at The Bickford Theatre/ Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609Morris Museum: On Columbia Turnpike/Road (County 466-9889. Road 510) at the corner of Normandy Heights Road, east Mon 1/8: Bria Skönberg at The Bickford Theatre/Morris of downtown Morristown. Near Interstate 287 and the Museum. On Columbia Turnpike/Road (County Road Route 24 expressway. 8 to 9:30 pm. $13 in advance, $15 510) at the corner of Normandy Heights Road, east of @ door. (973) 971-3706. downtown Morristown, NJ. Near Interstate 287 and the Mon 12/7: Oscar Perez Quartet at the Goat Café. 21 Route 24 expressway. 8 to 9:30 pm. $13 in advance, $15 South Orange Ave, South Orange. 8 pm and 9:15 sets. @ door. (973) 971-3706. $10 for adults; $5 for students. Wed 1/10: CD Release Concert: Jam at The Triad. "Oh Wed 12/9: Darla Rich Quartet at Fedora Café. 6, 7-9 Lady Be Good” w/ Michele Ramo, Bucky Pizzarell, & pm. 2633 Lawrenceville Rd., Lawrenceville. (609) 895Jerry Bruno. 157 W. 72nd. St. Concert followed by jam 0844. No Cover, Smoke Free, BYOB. session. All musicians are welcome! Birthday party for Pizzarelli and Bruno! Look for time and details in January Sat 12/9: Darla Rich Quartet at Hopewell Valley Bistro. 2007 issue of Jazz Improv & www.RamoJazzViolin.com. 7-10p. 15 East Broad Street, Hopewell. (609) 466-9889. $15 min per person. Sat 12/9: The Statesmen of Jazz at Bridgewater . Somerset County Vocational-Technical Schools, on Vogt Drive near North Bridge Street in Bridgewater, just two blocks from the huge Bridgewater Commons mall. 8 pm. $15 in advance, but $20 at the door. (908) 725-6640. Sun 12/10: Carrie Jackson & Jazzin’ All-Star Trio at Passions Jazz Café. 6:30 pm, 7:45 pm, 9:00 pm. No Cover. Two Drink Min. Passions Jazz Café @ Cameo Banquet Center. 800 Rahway Avenue, Woodbridge. Info: Salange @ 908-251-8461. Mon 12/11: Ken Peplowski and Howard Alden at The If you enjoy Jazz Improv’s ® NY Jazz Guide that you have Bickford Theatre/Morris Museum. On Columbia Turnpike/Road (County Road 510) corner of Normandy in your hands, you’ll LOVE Jazz Improv ® Magazine Heights Road, east of downtown Morristown. Near Interstate 287 / Route 24 expressway. 8 to 9:30 pm. $13 in advance, $15 @ door. (973) 971-3706. 300-400 Pages each issue FREE COMPANION CD Wed 12/13: Ken Peplowski and Howard Alden at Ocean County College. Midweek Jazz concerts at Fine each issue 75-100 CD & DVD REVIEWS FULL COLOR Arts Center. 8 pm. pm. Tkts: $13 in advance, $15 @ door. PHOTO GALLERIES DIRECTORIES - Artists, Festivals, (732) 255-0500. www.ocean.edu. Campus Drive, just off Education In depth INTERVIEWS THE GUITAR Route 549, a short distance from Parkway exit 88 (southbound) or exit 82 (northbound). PAGES PLUS: For those who make music 150-page Sat. 12/16: Tony Mennella and Dick Braytenbah Trio at E-BOOK (solos, songs, exercises, how-to articles & more) Hopewell Valley Bistro. No cover. $15 min. 7-10pm. Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609466-9889. Sun 12/17: The New Jersey Jazz Society’s Bill Steinberg Scholarship Fund presents Rio Clemente at The Bickford Theatre/Morris Museum. See above for directions. 8 pm. (973) 971-3706. Tkts: $20 advance/$25 door. www.njjs.org. Sat 12/30: The venerable Chickenfat Ball is back, at a new location and a different date. Details on the alwaysoutstanding band next month, or consult Jersey Jazz. Meanwhile, save this date at all cost. Full afternoon event. www.njjs.org. Sun 12/31: Darla Rich Quartet at Hopewell Valley Bistro. 7-9 p.m. and 10 pm-12 am. 15 East Broad Street, Hopewell. (609) 466-9889. Fixed Price Dinner. •
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Jazz Improv Magazine’s New York Jazz Guide
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noteworthy performances Stefon Harris American Museum of Natural History: Fri 12/1
Pam Purvis eighty-eight's Fri 12/1 & Thu 12/14 Cecil's (Every Sunday) Trumpets: Tue 12/26 •
Pam Purvis began singing jazz in 1974 in Paterson, NJ. It was there that she met her husband and longtime collaborator, saxophonist Bob Ackerman, with whom she has released eight albums. Fittingly, she credits her style to "living with a horn player.” During the last several years they have performed in Europe, Mexico, and throughout the US.
A graduate of The Manhattan School of Music, Harris is a recipient of the prestigious Martin E. Segal Award from Lincoln Center and has earned back to back to back Grammy nominations for Best Jazz Album. An active educator, he conducts clinics & lectures annually at universities throughout the country. His passionate artistry and energetic stage presence have propelled him to the forefront of the current jazz scene.
Chris Washburne Smoke: Wed 12/3 CD Release
Grady Tate Mannahatta: Tue 12/5
Trombonist Chris Washburne is one of those rare musicians whose musical activities cross many styles & cultural borders. From early in his career he refused to be pigeon-holed as just a jazz or classical player and instead has continually pursued a diverse path. He’s currently freelancing as a studio musicians, performing trombone, bass trombone, tuba, didjeridu, & percussion with various groups in NYC.
Grady Tate is world-renowned as a session drummer and in recent years, has made his voice his instrument of choice. A self-taught drummer by age 5, he played with the Jerome Richardson Combo and the Quincy Jones Big Band. He was the house drummer on The Tonight Show. He has performed with Duke Ellington, Count Basie, Wes Montgomery, Ella Fitzgerald, Sarah Vaughn, & most of the jazz greats.
Buddy DeFranco Jack Kleinsinger’s Highlights in Jazz: Thu 12/7
Lewis Nash The Rubin Museum: Fri 12/8
Generally credited with leading the way for jazz clarinetists from the swing era to the age of bop, DeFranco has set the bar high for others in sheer technical brilliance, improvisational virtuosity, and creative warmth. He played with Gene Krupa and Tommy Dorsey throughout the 1940’s. In 1950 he joined the famous Count Basie Septet, and was lead the Glenn Miller Orchestra from 1966 to 1974.
In 1981, Nash moved to New York from Phoenix, Arizona & joined the trio of jazz vocalist Betty Carter. Later stints included Ron Carter’s groups in 1984, saxophonist Branford Marsalis’ quartet in 1986, and dates with J.J. Johnson and Sonny Rollins in 1988. Nash also played in the Tommy Flanagan Trio throughout the 1990s. As his debut recording as a leader advertises, rhythm is Lewis Nash’s business.
Geoffrey Keezer AC Pianocraft: Sat 12/9
Dave Holland Merkin Concert Hall: Mon 12/11
Born into a musical family, Keezer has been immersed in music his entire life. In 1989, at the age of 18, Keezer was faced with two job offers: one from Miles Davis, the other with Art Blakey. He chose the latter, and his career was off to a fast start. Keezer has since worked with virtually all of the living legends of jazz. His newest release, Wildcrafted , captures the fire and raw energy of Keezer’s trio.
In 1968, Miles Davis heard Holland at Ronnie Scott’s in London and offered him a job on the spot. Holland abruptly moved to New York and toured with Davis for the next two years, recording In A Silent Way and Way and Bitches Brew . He went on to work with the influential groups Circle and Gateway in the 1970s before leading his own award-winning quintet and big band.
Mulgrew Miller Merkin Hall: 12/11
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Chembo Corniel Trumpets: Thu 12/21
Smoke: 12/14 - 12/16
Born in the Mississippi delta, Miller’s music is tinged with the blues and gospel flavor of his native environment. He arrived in New York with the Duke Ellington Orchestra, conducted by Mercer Ellington, in 1977. Miller recorded his first album as leader in 1985. His most recent is 2004’s trio date “Live at Yoshi’s,” with Derrick Hodge and Karriem Riggins. Miller also leads his acclaimed quintet, Wingspan.
Born in 1953 to Puerto Rican parents, Chembo was raised in the humble streets of Red Hook, Brooklyn. He honed his skills at The Harbor Conservatory for the Performing Arts in New York and at La Escuela Nacional de Arte in Havana, Cuba under the direction of the great Chucho Valdés. Chembo teaches percussion at SUNY Purchase and leads his own Latin jazz sextet, Chembo & Grupo Chaworo.
n i t r a M e n e G ©
Bob Dorough Joe's Pub: Sat 12/23
Don Braden Kitano: NEW YEAR’S YEAR’S EVE Sun 12/31
In 1949, Dorough made a bee-line for NYC, where he immersed himself in the city’s rapidly evolving jazz scene & took whatever musical jobs he could land. Though his long & colorful career has included stints with Miles Davis, ex-boxer Sugar Ray Robinson, and Dave Frishberg, Dorough is forever remembered as the man behind the music of “Schoolhouse Rock.” His playing continues to delight audiences worldwide.
Don Braden is a musician of the highest caliber, having spent years as the saxophonist with greats like Betty Carter, Wynton Marsalis & Roy Haynes. In addition of this own group, Braden spent four years as co-music supervisor/composer for Bill Cosby’s most recent sitcom, “Cosby.” Ring in the New Year with one of the most swingingest jazz artists on the scene today. Vocalist Roseanna Vitro joins him at Kitano.
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December 2006 Jazz Improv Magazine’s New York Jazz Guide
www.jazzimprov.com
To Advertise CALL: 212-889-0853
calendar of events DECEMBER
Barbés
Blue Note
376 Ninth St. (at 6th Ave.) 718-965-9177 www.barbesbrooklyn.com
131 W Third St. (betw. 6th & MacDougal) 212-475-8592 www.bluenote.net
1 - Fri
Timothy Dick; The Second Fiddles; Jack Grace
Cachao; Vinx
2 - Sat
Prince Diabate & Imaginary Homeland; Brooklyn Qawwali Party
Cachao; Frank & Joe Show w/ Fareed Haque
3 - Sun
Ila Cantor; Stephane Wrembel
Cachao; Kenny Werner & his NYU Jazz
4 - Mon
Smokey Hormel Western Combo
Freddie Hubbard & the New Jazz Composers Octet
5 - Tue
Jenny Scheinman Scheinman;; Slavic Soul Party
Gal Costa
6 - Wed
Gal Costa
7 - Thu
Sam Bardfeld’s Stuff Smith Project; Rachelle Garniez
Gal Costa
8 - Fri
Greta Gertler & the Extroverts; J. Walter Hawkes; Chicha Libre!
Gal Costa; Jacob Fred Jazz Odyssey
9 - Sa Satt
WFM FMU U Bro roaadca cast st Liv ivee; Kill He Henr nryy Sug ugaar
Gall Co Ga Cost staa; Ja Jaco cobb Fr Freed Ja Jazz zz Ody dyss sseey
10 - Sun
Erik Pakula’s Triple Paste; Stephane Wrembel
Gal Costa; Benny Powell Quintet feat. Sayuri Goto & TK Blue
11 - Mon
Smokey Hormel Western Combo
Taj Mahal Trio
12 - Tue
Gowanusburg;; Slavic Soul Party Gowanusburg
Taj Mahal Trio
13 - Wed
Taj Mahal Trio
14 - Thu
Rudresh/Hemingway/Dresser Trio; Musette ExploRudresh/Hemingway/Dresser sion
Manhattan Transfer
15 - Fri
Banning Eyre; Howard Fishman
Manhattan Transfer; Chris Dave & Friends feat. Stokley
16 - Sat
Andy Statman; Polka Freak Out
Manhattan Transfer; Chris Rob
17 - Sun
Barbes Classical Classical;; Stephane Wrembel
Manhattan Transfer; Frank Wess Quartet
18 - Mon
Smokey Hormel Western Combo
19 - Tue
Jenny Scheinman
Chris Botti
20 - Wed
Chris Botti
21 - Thu
Chris Botti Chris Botti; Mike Clark, Donald Harrison, & Jerry Z Chris Botti; Mike Clark, Donald Harrison, & Jerry Z
22 - Fri 23 - Sat 24 - Sun
Chris Botti
25 - Mon
Satoshi Inoue Quartet
26 - Tue
Jenny Scheinman Scheinman;; Slavic Soul Party
Chris Botti
27 - Wed
Chris Botti
28 - Thu
Chris Botti
29 - Fri
Chris Botti; Sam Kininger & Guests
30 - Sat
Chris Botti; Sam Kininger & Guests
31 - Sun
5th Annual New Year’s Balkan Bash w/ The Zagnut Cirkus Orkestar
To Advertise CALL: 212-889-0853
Chris Botti; Kelli Sae
®
Jazz Improv Magazine’s New York Jazz Guide
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December 2006
57
calendar of events DECEMBER
Cecil’s Jazz Club 364 Valley Rd. West Orange, NJ 07052 973-736-4800 www.cecilsjazzclub.com
Cleopatra’s Needle 2485 Broadway (betw. 92nd & 93rd St.) 212-769-6969 www.cleopatrasneedleny.com
Cornelia St. Café 29 Cornelia St. (betw. W 4th & Bleecker St.) 212-989-9319 www.corneliastreetcafe.com
Dizzy’s Club Coca Cola Broadway at 60th St. 5th Floor 212-258-9595 www.jazzatlincolncenter.com/dccc
Dizzy’s Club After Hours Broadway at 60th St. 5th Floor 212-258-9595 www.jazzatlincolncenter.com/ dccc
1 - Fri
Bob Devos CD Release Party
Jon Maione Quartet
Tony Malaby Tuba Trio + One
Cyrus Chestnut, George Mraz, & Lewis Nash
Adam Birnbaum Trio
2 - Sat
Bob Devos CD Release Party; Grassella Oliphant Quartet
Marek’s Jazz Vision Quartet
Nora McCarthy; Ryan Scott & Sean Wood
Cyrus Chestnut, George Mraz, & Lewis Nash
Adam Birnbaum Trio
3 - Sun
Pam Purvis & Bob Ackerman; Matt Singers’ Open Mic; Mic; Toru Dodo Jam Victor Prieto Trio Chertkoff Organ Grooves
Cyrus Chestnut, George Mraz, & Lewis Nash
4 - Mon
Cecil’s Big Band
Jam Session
Keep Searchin’ w/ Steve Turre & Stefon Harris
5 - Tue
Jazz Jam Session w/ Bruce Williams
Jam Julius Tolentino
6 - Wed
New Music Night
Jon Weiss; Singers’ Open Mic
7 - Thu
Brazilian Night feat. Yashmin
8 - Fri
Tullis McCall; Amram & Co.
Igor Butman 4 w/ Eddie Gomez, Lenny White, & Andrey Kondakov
Ben Markley Quartet w/ Special Guests
Brazilian Helio Alves Trio w/ Santi Debriano, Donald Edwards
Igor Butman 4 w/ Eddie Gomez, Lenny White, & Andrey Kondakov
Ben Markley Quartet w/ Special Guests
Dan Furman Trio
Artists’ Salon; Gnu Vox: Jo Lawry & David Devoe
Igor Butman 4 w/ Eddie Gomez, Lenny White, & Andrey Kondakov
Ben Markley Quartet w/ Special Guests
Sonny Fortune Quartet
Cathy Harley Quartet
Jeremy Steig Quartet Quartet w/ Vic Juris, Igor Butman 4 w/ Eddie Gomez, Cameron Brown, Anthony Pinciotti Lenny White, & Andrey Kondakov
Ben Markley Quartet w/ Special Guests
9 - Sat
Sonny Fortune Quartet; Grassella Oliphant Quartet
Larry Newcomb Quartet
Ben Waltzer Trio
Igor Butman 4 w/ Eddie Gomez, Lenny White, & Andrey Kondakov
Ben Markley Quartet w/ Special Guests
10 - Sun
Pam Purvis & Bob Ackerman; Matt Sex Scenes; Myra Melford/Le Melford/Leroy roy Singers’ Open Mic; Toru Dodo Jam Chertkoff Organ Grooves Jenkins/Thurman Jenkins/Thurm an Baker
Igor Butman 4 w/ Eddie Gomez, Lenny White, & Andrey Kondakov
11 - Mon
Cecil’s Big Band
Jam Session
Upstarts! Julliard Jazz Ensemble w/ Vincent Herring
12 - Tue
Jazz Jam w/ Bruce Williams
Jam Julius Tolentino
Randy Weston African Rhythms
Sayuri Goto Trio feat. Essiet Essiet & Gene Jackson
13 - Wed
Lori Hartman
Jon Weiss; Singers’ Open Mic
Randy Weston African Rhythms
Sayuri Goto Trio feat. Essiet Essiet & Gene Jackson
14 - Thu
Brazilian Night feat. Yashmin
John Nam Trio
Gnu Vox: Elisabeth Lohninger & Erin Byrne, Walter Fischbacher
Randy Weston African Rhythms
Sayuri Goto Trio feat. Essiet Essiet & Gene Jackson
Spirit of Life Ensemble
Trio M w/Myra Melford; Mark Dresser; Matt Wilson
Randy Weston African Rhythms
Sayuri Goto Trio feat. Essiet Essiet & Gene Jackson
Spirit of Life Ensemble
Sayuri Goto Trio feat. Essiet Essiet & Gene Jackson
15 - Fri 16 - Sat
Grassella Oliphant Quartet
Gerald Cleaver: Violent Hour-two Nights Live Recording
Randy Weston African Rhythms
17 - Sun
Pam Purvis & Bob Ackerman; Matt Gerald Cleaver: Violent Hour-two Singers’ Open Mic; Toru Dodo Jam Chertkoff Organ Grooves Nights Live Recording
Randy Weston African Rhythms
18 - Mon
Cecil’s Big Band
Jam Session
Bernard Purdie & New School R&B Revue; Junior Mance
19 - Tue
Jazz Jam w/ Bruce Williams
Jam Julius Tolentino
20 - Wed
New Music Night
Jon Weiss; Singers’ Open Mic
Songwriters’ Beat 6th Anniversary
21 - Thu
Brazilian Night feat. Yasmin
Jun Miyake Quartet
Po’ Jazz; Mark Helias’ Bass-Drum- David “Fathead” Newman; Dr. Lonnie Akiko Tsuruga Trio Bone Smith Trio w/ Peter Bernstein
22 - Fri
TK Blue w/ Benny Powell
Hiroshi Yamazaki Quartet
Angelica Sanchez Quartet
23 - Sat
TK Blue w/ Benny Powell; Grassella Oliphant Quartet
Joel Forrester Quartet
24 - Sun
Pam Purvis & Bob Ackerman; Matt Singers’ Open Mic; Toru Dodo Jam Chertkoff Organ Grooves
25 - Mon
Cecil’s Big Band
Jam Session
26 - Tue
Jazz Jam w/ Bruce Williams
Jam Julius Tolentino
27 - Wed
New Music Night
Jon Weiss; Singers’ Open Mic
28 - Thu
Brazilian Night feat. Yashmin
Matt Ray Trio
TBA
29 - Fri
Wallace Roney Group
Cheryl Cassidy Quartet
TBA
30 - Sat
Grassella Oliphant 4; Wallace Roney Group
Tammy Shoji Quartet
TBA
31 - Sun
Pam Purvis/Bob Ackerman; Wallace Roney
New Year’s Eve w/ Steve Belvilus
TBA
58
®
December 2006 Jazz Improv Magazine’s New York Jazz Guide
World Mondays: Kaiku
David “Fathead” Newman; Dr. Lonnie Akiko Tsuruga Trio Smith Trio w/ Peter Bernstein David “Fathead” Newman; Dr. Lonnie Akiko Tsuruga Trio Smith Trio w/ Peter Bernstein
David “Fathead” Newman; Dr. Lonnie Akiko Tsuruga Trio Smith Trio w/ Peter Bernstein David “Fathead” Newman; Dr. Lonnie Akiko Tsuruga Trio Smith Trio w/ Peter Bernstein David “Fathead” Newman; Dr. Lonnie Smith Trio w/ Peter Bernstein
TBA Soul of the Blues: Mark Tolstrup, Jon Short, Fitzgerald & Beach
www.jazzimprov.com
TBA
To Advertise CALL: 212-889-0853
Deborah Davis: Annual Jazz Concert to Benefit Lymphoma Society at Blue Note I first learned about the Leukemia & Lymphoma Society from a flyer soliciting runners for their TEAM in Training in 1996. It caught my eye because my father had died of Leukemia in 1981. I signed up and ran a full 26.2 mile marathon with the Society’s Team in Training in Dublin Ireland, October 26, 1997 finishing in 4:37. I had trained over a 6 month period and raised a little over $3600 from sponsors and jazz fans, by passing a basket at all my gigs. I had planned on meeting new friends and training with the team in Central Park, but I ended up being on the road most of that year, so I trained alone jogging in Ritido Park in Spain, The Black Forest in Germany, Englisher Garden in Munich, South Africa, etc. I remember getting $1000 from my fans one week in Germany and another $600 in Spain. Being on the road so much, I was really proud of myself for sticking with my training alone, and finishing. It was an easy run in Dublin, but I confess, the entire run I was wishing I had roller blades. The next year I signed up for the 38 mile inline skate team. I started training and learned that I had an muscle injury that would prevent me from participating. I’m not good at being defeated, and I didn’t want to stop my own personal campaign to raise funds for such a needy cause, so I put my thinking cap on and realized , I had a much better platform for raising funds than running marathons or skating 38 miles. I knew there had to be a better way! I figured I could raise much more money in one night! I had learned that the Blue Note family had a personal link to the illness as well, so I asked Danny Bensusan about doing annual concerts for the cause and donating the door charge from one night a year! It was an idea that he has been happy to continue and it has proved to be very successful raising a great deal of funds over the years for the cause. I also donate $1 from the sale of each of my CD’s since 2002. CD’s are available online @ www.DeborahDavisSings.com. Since my mother’s death 2004, I’m now considering a platform for raising funds for Alzheimer’s disease! I believe it’s a great way to honor both my parents lives. Besides, everything I am, and everything I do has a direct link to who they raised me to be. My annual jazz benefit concerts funds now go towards the Society’s Annual Light The Night “Walk” over the Brooklyn Bridge. I continue the concerts and the walks in honor of my father Douglas E. Davis, Sr and on behalf of all the patients and their families who are battling blood related cancers. 10th Annual Jazz Benefit Concert
Monday, January 1, 2007, 8:00 & 10:30 shows Blue Note Jazz Club 131 W. 3rd St. @ 6th Av), NY Reservations Suggested: 212-475-0049 $25 Cover goes to the Charity. For more information or to sign up for an event contact:
www.Leukemia-Lymphoma.org/nyc Www.LightTheNight.org/nyc www.TeamInTraining.org/nyc www.DeborahDavisSings.com www.CDbaby.com/deborahdavis To Advertise CALL: 212-889-0853
®
Jazz Improv Magazine’s New York Jazz Guide
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December 2006
59
calendar of events Garage 99 Seventh Ave. S (at Grove St.) 212-645-0600 www.garagerest.com
DEC
Iridium 1650 Broadway (below 51st St.) 212-582-2121 www.iridiumjazzclub.com
The Jazz Gallery 290 Hudson St. (below Spring St.) 212-242-1063 www.jazzgallery.org
Jazz Standard 116 E 27th St. 212-576-2232 www.jazzstandard.net
Joe’s Pub at The Public Theatre 425 Lafayette Street (betw E. 4th St & Astor Pl) 212-539-8563 www.publictheater.org
1 - Fri
Nick Moran
Pharoah Sanders
Jason Lindner’s AB Aeterno Trio
Tango Meets Jazz Festival w/ Pable Ziegler Quartet
Marion Logudice; Lucie Idlout
2 - Sat
Larry Newcomb 3; Bruce McKinnon; Virginia Mayhew 4
Pharoah Sanders
Dave Liebman & Bobby Avey: Vienna Diabloque
Tango Meets Jazz Festival w/ Pable Ziegler Quartet
Marta Gomez; The Microscopic Septet
3 - Sun
Champion Fulton Trio; David Coss 3; Jamaal Sawyer
Barry Levitt Jazz Wrkshp/Bru Wrkshp/Brunch; nch; Pharoah Sanders; Tony Fusco
Tango Meets Jazz Festival w/ Pable Ziegler Quartet
Allen Toussaint; Michelle Shocked; SXIP Shirey
4 - Mon
Howard Williams Jazz Orchestra; Ben Markley 4
Les Paul & His Trio
Voices and Songs Series: “Monday Off”
Sharp Things w/ Kristin Diable; Uncle Moon sings Velvet Underground
5 - Tue
Tom Abbott Big Bang Big Band; Mike Macallister
Mingus Legacy
Dave Douglas Quintet
Compania Flamenca Juan Polvillo
6 - Wed
Sharp Radway Trio;Dave Smith
Freda Payne
Dave Douglas Quintet
Compania Flamenca Juan Polvillo; Carla Bozulich’s Evangelista
7 - Thu
Jonathan Batiste 3 w/ Jennifer Sanon; BJ Jansen Quintet
Freda Payne
Dana Leong’s Rhapsody in Groove
Dave Douglas Quintet
Over the Rhine; Tony Camin & Leo Allen in Bro’in Out
8 - Fri
Hide Tanaka Trio; Joey Morant
Freda Payne
David Gilmore Group
Dave Douglas Quintet
Tony Camin/Leo Allen; Vincius Cantuaria, Marc Ribot; Leslie Kritzer
9 - Sat
Nick Moran Trio; Vinson Valega; French Cookin’ Blues Band
Bilal Vocal
Danny Grissett Trio
Dave Douglas Quintet
Tony Camin & Leo Allen; Fraulein Maria; Rene Risque & the Art Lovers
10 - Sun
Lou Caputo 4; David Coss 3; Austin Walker Quartet
Barry Levitt’s Workshop & Brunch; Bilal Vocal; John Signorello
Dave Douglas Quintet
Leslie Kritzer; Broadwayworld Broadwayworld.com .com On Ice; Tony Trischka
11 - Mon
Howard Williams Jazz Orchestra; Ben Markley Quartet
Les Paul & His Trio
Voices and Songs Series: TBA
Leslie Kritzer; Nativity: a Life Story in Concert
12 - Tue
Gary Morgan and Panamericana; Mike Macallister
Mingus Legacy
13 - Wed
Gypsy Jazz Caravan; Dave Smith
Joey DeFrancesco All-Stars
14 - Thu
John Chin Trio; Ryan Anselmi 4
Joey DeFrancesco All-Stars
15 - Fri
Steve Coleman Presents
Steve Coleman Presents
Kelly Joe Phelps w/ Natalia Zukerman; Mike Errico; Girlyman Michael Wolff: Love and Destruction Tour
The Tom Kitt Band; Finn O Lochlainn CD Release
Matt Brewer Quartet
Michael Wolff: Love and Destruction Tour
Benefit: North Star Fund w/Emeline Michel; Losers Lnge; Dick Valentine
Mark Capon; Jonathan Batiste Trio Joey DeFrancesco All-Stars
The Shape of Jazz to Come: Direction in 21st Century Music
Mose Allison
The Losers Lounge
16 - Sat
Joni Paladin; Art Lillard Quartet; Virginia Mayhew Quartet
Joey DeFrancesco All-Stars
The Shape of Jazz to Come: Direction in 21st Century Music
Mose Allison
The Losers Lounge; Treble; Senegalese Mbalax Waaw band
17 - Sun
Eve Silber; David Coss Trio; Adam Birnbaum Trio
Barry Levitt’s Jazz Brunch; Joey DeFrancesco All-Stars
Mose Allison
Ethel Lab Series w/ Jill Sobule
18 - Mon
Howard Wiliams Jazz Orchestra; Kenny Shanker
Les Paul & His Trio
Voices And Songs Series: Jaqui Naylor
Hadassah Gross; Divahn/Shushmo
19 - Tue
New Yorkestra Big Band; Jesse Elder Trio
Mingus Legacy
Robert Glasper Trio
Downtown Holiday
20 - We Wedd
David White 5; Vitaly Golovnev
Vince n ce Giorda o rdano no & Th Thee Ni Nigh ghth thaw awks ks
Robe Ro bert rt Gl Glas aspe perr Tr Trio io
East Ea st Villag l lagee Op Oper eraa Co Comp mpan anyy
21 - Thu
John Chin Trio; Chris Ward
Cyrus Chestnut/Kevin Mahogany Christmas feat. Eric Alexander
Will Vinson Quintet
Robert Glasper Trio w/ Mark Turner
Hadassah Gross; Betty; Don’t Quit Your Night Job
22 - Fri
Vinson Valega; Andre Barnes Trio
Cyrus Chestnut/Kevin Mahogany Christmas feat. Eric Alexander
Renee Neufville
Robert Glasper Experiment
Betty; Las Rubias Del Norte; Elysian Fields
23 - Sat
Joni Paladin; Hide Tanaka Trio; Sharp Radway Trio
Cyrus Chestnut/Kevin Mahogany Christmas feat. Eric Alexander
Jaleel Shaw Quartet
Robert Glasper Experiment
Betty; Bob Dorough
24 - Sun
Lou Caputo Quartet; Kenny Shanker Trio; David Coss and his Trio
Barry Levitt; Cyrus Chestnut/Ke Chestnut/Kevin vin Mahogancy w/ Eric Alexander
25 - Mon
Closed for Christmas
Les Paul & His Trio
26 - Tue
New York Jazz Nonet presents David Heckendorn; Ben Cliness 3
Mingus Legacy
Dave Stryker Organ Trio
27 - Wed
Kevin Dorn Dixieland Band;David White Quintet
Caribbean Jazz Proj-Dave Samuels
Preservation Hall Jazz Band
28 - Thu
Tatum Greenblatt Quartet; Kenny Shanker Quartet
Caribbean Jazz Proj-Dave Samuels
Preservation Hall Jazz Band
Ellis Paul; Stephen Kellogg & The Sixers
29 - Fri
David White 5; Mark Marino 3
Diane Schuur w/ Dave Samuels & The Caribbean Jazz Project
Preservation Preservati on Hall Jazz Band
Sandra Bernhard’s New Year’s Weekend
30 - Sat
Larry Newcomb Trio; Mark Capon; Justin Lees Trio
Diane Schuur w/ Dave Samuels & The Caribbean Jazz Project
Preservation Preservati on Hall Jazz Band
Sandra Bernhard’s New Year’s Weekend
31 - Sun
Joni Paladin
Barry Levitt; Diane Schuur w/ Dave Samuels
Preservation Preservati on Hall Jazz Band
Sandra Bernhard’s New Year’s Weekend
60
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December 2006 Jazz Improv Magazine’s New York Jazz Guide
Steve Coleman Presents
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calendar of events DEC
Kitano 66 Park Ave. (at 38th St.) 212-885-7119 www.kitano.com
Lenox Lounge 288 Lenox Avenue (above 124th St.) 212-427-0253 www.lenoxlougne.com
1 - Fri
Brazilian Voyage Trio
Tiffany Hall Trio
Blues & Jazz Organist Jimmy McGriff
2 - Sat
Brazilian Voyage Trio
Tiffany Hall Trio
Blues & Jazz Organist Jimmy McGriff
3 - Sun
Jazz Vocalist JAM w/LaFayette Harris 3
Marc Estrin & Bill Hoffman; Sunday Kind of Jazz
Donna Leonhart; Chris Washburne & S.Y.O.T.O.S.
4 - Mon
Patience Higgins & the Sugar Hill Quartet
The Artist’s Salon; Debra Barsha, Mary Cleere Haran
Jam Session w/ John Farnsworth Quintet
Live Jazz Jam
6 - Wed
Ted Rosenthal Trio
Nathan Lucas Organ Trio
Songwriter’s Showcase hosted by Staci Rochwerg
7 - Thu
Daniela Schaecter Trio
Blues and R&B
Tuey Connell & Friends
8 - Fri
Don Friedman Quartet feat. Peter Bernstein
Kathy Griggs 3
Larry Willis Quintet
9 - Sat
Don Friedman Quartet feat. Peter Bernstein
Kathy Griggs 3
Larry Willis Quintet
Jean-Michel Pilc Quartet
10 - Sun
Jazz Vocalist JAM w/LaFayette Harris 3
Sunday Kind of Jazz
Sunday Vocalist Series: Chris Washburne S.Y.O.T.O.S.
11 - Mon
Patience Higgins & the Sugar Hill 4
Debra Barsha, Mary Cleere Haran
Jam Session w/ John Farnsworth Quintet
Live Jazz Jam
12 - Tue
13 - Wed
Sameer Ramchadran Trio
Nathan Lucas Organ Trio
Songwriter’s Showcase hosted by Staci Rochwerg
14 - Thu
Rich Perry Quartet
Blues and R&B
Jon Sobel’s Blues in the Slope
15 - Fri
Eric Reed Trio
Bill Lee Group
Mulgrew Miller Quartet
16 - Sat
Eric Reed Trio
Bill Lee Group
Mulgrew Miller Quartet
Mulgrew Miller Quartet
17 - Sun
Jazz Vocalist JAM w/LaFayette Harris 3
Sunday Kind of Jazz
Sunday Vocalist Series: TBA; Chris Washburne
18 - Mon
Patience Higgins & the Sugar Hill Quartet
Debra Barsha, Mary Cleere Haran
Jam Session w/ John Farnsworth Quintet
Live Jazz Jam
19 - Tue
20 - Wed
James Weidman Trio
Nathan Lucas Organ Trio
21 - Thu
Kendra Shank Quartet
Blues and R&B
22 - Fri
Jim Rotondi Quintet feat. Joe Locke
Danny Mixon Trio
Christmas w/ Harold Mabern & Friends
23 - Sat
Jim Rotondi Quintet feat. Joe Locke
Danny Mixon Trio
Christmas w/ Harold Mabern & Friends
24 - Sun
Jazz Vocalist JAM w/LaFayette Harris 3
Sunday Vocalist Series: TBA; Chris Washburne
25 - Mon
Patience Higgins & the Sugar Hill Quartet
Songwriter’s Showcase hosted by Staci Rochwerg
Live Jazz Jam w/ Dan McCarthy Trio
26 - Tue
®
Smoke 2751 Broadway (at 105th St.) 212-864-6662 www.smokejazz.com
www.nightanddayrestaurant.com
5 - Tue
62
Night & Day Restaurant 230 Fifth Ave., Brooklyn, NY (at President St.) 718-399-2161
27 - Wed
Nathan Lucas Organ Trio
28 - Thu
Blues and R&B
The Ukuladies
29 - Fri
Hiromi Kasuga Duo
Danny Mixon Trio
Steve Turre Quintet
Steve Turre Quintet
30 - Sat
Dominic Duval Duo
Danny Mixon Trio
Steve Turre Quintet
Steve Turre Quintet
31 - Sun
Don Braden Quartet w/ Roseanna Vitro
New Year’s Eve w/ One For All
David Hazeltine; Eric Alexander, Jim Rotondi, Steve Davis
December 2006 Jazz Improv Magazine’s New York Jazz Guide
www.jazzimprov.com
To Advertise CALL: 212-889-0853
calendar of events The Stone Ave. C and Second St.
www.thestonenyc.com
Trumpets 6 Depot Square Montclair, New Jersey 07042 Tel. 973-744-2600 Fax 973-7447735 Website: www.trumpetsjazz.com
Village Vanguard 178 Seventh Ave. S (below W 11th St.) 212-255-4037 www.villagevanguard.net
DECEMBER
1 - Fri
Paul Dunmall, Paul Rogers, Tony Levin
Ragan Whiteside Quartet
Tom Harrell Quintet
2 - Sat
Paul Dunmall, Paul Rogers, Tony Anna Maria Mannarino Quintet with Tom Harrell Quintet Levin, Ellery Eskelin, Ray Anderson Ted Curson
3 - Sun
Paul Dunmall, Paul Rogers, Tony Levin; Kevin Norton, Tony Malaby
Betty Liste Xmas CD Release Party
Tom Harrell Quintet Vanguard Jazz Orchestra
4 - Mon 5 - Tue
Steve Beresford’s Signal for Tea Matt McDonald/Craig Yaremko Group Paul Motian Trio 2000 + Two Quartet; Beresford & Lol Coxhill
6 - Wed
Lol Coxhill
7 - Thu
Lucian Ban, Barry Altschul, & Hilliard Dre Barnes Greene; Hieroglyphics
Paul Motian Trio 2000 + Two
8 - Fri
Dennis Gonzalez Yells at Eels
Paul Motian Trio 2000 + Two
9 - Sat
Dennis Gonzalez, Paul Dunmall, Paul Bob Baldwin Birthday Celebration Rogers, Tony Levin
Paul Motian Trio 2000 + Two
10 - Sun
Dee Pop, Tom Verlaine, Perry Robin- Rick Crane & Bob Himmelberger CD son, William Parker, Any Haas Rel; Roseanna Vitro
Paul Motian Trio 2000 + Two
Ellington Band
Paul Motian Trio 2000 + Two
Bob Devos Trio with Hendrik Meurkens
Vanguard Jazz Orchestra
11 - Mon 12 - Tue
Selwyn Lissack w/ Brice Winston, Roy Campbell, & William Parker
Berkana with Nat Janoff
Cedar Walton Trio
13 - Wed
Grachan Moncur III w/ Michael Black & James Spaulding
Dick Meldonian Big Band
Cedar Walton Trio
14 - Thu
Hugh Hopper, Nick Didkovsky, & Roulat
Ted Curson’s Holiday Jam Session
Cedar Walton Trio
15 - Fri
Chris Cutler, Fred Frith, Hugh Hopper Carrie Carrie Jackson Quartet
Cedar Walton Trio
16 - Sat
Chris Cutler, Fred Frith, & Tim Hodgkinson
Enrico Granafei/Kr Granafei/Kristine istine Massari
Cedar Walton Trio
17 - Sun
Tim Hodgkinson & Fred Frith; Tim Hodgkinson & Chris Cutler
Jeree Wade & Adam Wade
Cedar Walton Trio Vanguard Jazz Orchestra
18 - Mon 19 - Tue
Michael Moore, Rob Brown, William Parker, & Gerald Cleaver
Diane Moser Quartet-Christm Quartet-Christmas as Concert
Cedar Walton Trio
20 - Wed
Michael Moore, Jamie Saft, Trevor Dunn, & Kenny Wollesen
Ellington Band
Cedar Walton Trio
21 - Thu
Ivo Perelmen, Dominic Duval, Newman T.Baker & Rosie Hertlein
Chembo Corniel & Andrea Brachfeld
Cedar Walton Trio
22 - Fri
Joelle Leandre, Marilyn Crispell & Guests
Hous Ho usto tonn Per Perso sonn Hol Holid iday ay Co Conc ncer ertt
Ceda Ce darr Wal Walto tonn Trio Trio
23 - Sat
Mariyln Crispell & Tisziji Munoz Duo; T.Munoz/Marilyn T.Munoz/M arilyn Crispell 4
Hous Ho usto tonn Per Perso sonn Hol Holid iday ay Co Conc ncer ertt
Ceda Ce darr Wal Walto tonn Trio Trio
24 - Sun
Special HolidayDMG Benefit
Cedar Walton Trio Vanguard Jazz Orchestra
25 - Mon 26 - Tue
Raoul Bjorkenheim, William Parker, Hamid Drake
Pam Purvis and Bob Ackerman
Dr. Michael White’s Original Liberty Jazz Band of New Orleans
27 - Wed
Kazutoki Umezu w/ Jon Madof & Guests
Bruce Jackson Trio
Dr. Michael White’s Original Liberty Jazz Band
28 - Thu
Nels Cline & Surprise Guests
Betty Liste Vocal Jam
Dr. Michael White’s Original Liberty Jazz Band
29 - Fri
Vinny Golia, Nels Cliner, Ken Filiano
Carla Culkin Quartet
Dr. Michael White’s Original Liberty Jazz Band of New Orleans
30 - Sat
John Zorn “End of the Year” All-Star Improv Benefit
Melvin Davis Quartet
Dr. Michael White’s Original Liberty Jazz Band
Kristine Massari Quartet;En Quartet;Enrico rico Granafei/Ted Curson Quintet
Dr. Michael White’s Original Liberty Jazz Band
31 - Sun
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cd reviews Louis Armstrong LEGENDS OF AMERICAN MUSIC: THE WONDERFUL WORLD OF LOUIS ARMSTRONG—TIME
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www.timelife.com. Disk 1: What a Wonderful World, Cabaret, A Kiss to Build a Dream On, Hello Dolly, Makin’ Whoopee, Stormy Weather, I Gotta Right to Sing the Blues, Nobody Knows the Trouble I’ve Seen, Georgia on My Mind, If I Could Be with You (One Hour Tonight), Bucket’s Got a Hole in It, Your Cheatin’ Heart, Blueberry Hill, I Wonder, (I’ll Be Glad When You’re Dead) You Rascal You, Lazy ‘Sippi Steamer, I’m Confessin’ (That I Love You), I Can’t Give You Anything but Love, I’m in the Mood for Love, When the Saints Go Marching In. Disk 2: When It’s Sleepy Time Down South, Mack the Knife, Summer Song, (What Did I Do to Be So) Black and Blue, Ain’t Misbehavin’, Yellow Dog Blues, Beale Street Blues, I Want a Little Girl, Joseph ‘n’ His Brudders, Do You Know What It Means to Miss New Orleans, The Blues Are Brewin’, Rockin’ Chair, Someday You’ll Be Sorry, Mississippi Basin, I’ve Got the World on a String, All of Me, Stardust, I Surrender Dear, When Your Lover Has Gone, Lazy River. PERSONNEL: Louis Armstrong (trumpet, vocals). Various other musicians. By Bill Donaldson Louis Armstrong proved that one person can make a difference. Like so many other individuals who have changed the course of history or scientific thought or the arts, Armstrong through perseverance and through his own talent—well, his own genius—eventually attained critical and popular recognition for the innovations he conceived. Indeed, Armstrong was the source of an entire art form, jazz. He established the instrumentalist as the focal point of a group, he influenced most jazz trumpeters in one way or another, and he created a vocal music style, es pecially scat singing, that many other singers adopted. Who could have foreseen that a person born in poverty in New Orleans and incarcerated as a teen in the Colored Waifs Home would emerge as one of the most important musical pioneers of the twentieth century? Like Thelonious Monk or Eubie Blake, for example, Armstrong lived long enough to experience critical swings of approval, as well as the vagaries of popular trends, until a consensus formed. Such was Armstrong’s popular appeal that Time Life recordings, now marketed by Direct Holdings Americas, has released a two-CD package that covers over 35 years of his recordings, from 1931 to 1967. With due acknowledgement to Armstrong’s most frequently played recordings, Legends of American Music: The Wonderful World of Louis Armstrong includes, of course, the recordings that the listening public usually associates with him, especially “Hello, 64
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(2) from the listening public who found his entire package of on-stage presence and recorded accessibility engaging. The recordings in The Wonderful World of Louis Armstrong concentrate on the latter side of Armstrong’s musical personality. The CD set includes some of Armstrong’s early popular hits, like “Ain’t Misbehavin’” and “All of Me,” but his introductory cadenza of “West End Blues,” Blues,” which which remains remains embedded in the consciousness of jazz musicians, does not appears on it. None of Armstrong’s Hot Fives or Hot Sevens tracks from the 1920’s, such as “Struttin’ with Some Barbecue,” are included, but his Decca hit “When the Saints Go Marching In” is. Armstrong’s ever-popular “You Rascal, You” continues to evoke smiles, indeed as proven again on The Wonderful World of Louis Armstrong, but the immortality of “Potato Head Blues” appears elsewhere. Armstrong’s discography is vast from the continuous accumulation of one startling recording after another throughout his career. So, choices must be made to produce any collection of his recordings. The choices of Time Life demonstrate Louis Armstrong’s acclaim throughout more than four decades as he negotiated evolving popular musical trends—New Orleans jazz, riverboat bands, blues, swing, big bands, bebop, Dolly!” and “What a Wonderful World,” which West Coast cool, rock and roll, hard rock and the attracted little notice until it appeared in Good beginnings of fusion—to remain individualistic Morning Vietnam. Now, “What a Wonderful and influential. By remaining true to himself. World” is perhaps the song that the public most closely associates with Armstrong as it is performed at weddings, as background music for video productions and even during sporting events. The CD’s also includes some of Armstrong’s late-career work that received lush, and sometimes unnecessary, orchestration, like “Nobody Knows the Trouble I’ve Seen,” on which the strings underlay Armstrong’s singing with cloying sweetness. Even when Armstrong’s work is cushioned in such elaboration, his trum pet playing commands attention with his famous vibrancy and clarity. clarity. Dave Brubeck was gratified gratified that Armstrong recorded his “Summer Song,” and that recording is included as well, right after “Mack the Knife,” Armstrong’s interpretation THE BOOK OF LOVE - TELARC CD-83652. that he makes his own, as he did every other www.Telarc.com. You Don’t Know Me; Be My song he recorded through the irrepressibility of Love; Blue Moon; Let’s Do It; Don’t Say A his personality personality.. Word; You Taught My Heart To Sing; You Go The reasons for Armstrong’s successes are To My Head; Cry Me A River; I’m A Fool To several, including his stunning innovations as a Want You; Goodbye; The Book Of Love trumpet soloist, his appearance in films, the en- (Reprise) tertainment value of his filmed appearances, the PERSONNEL: Cheryl Bentyne, vocals; John firm management of his career by Joe Glaser, his Pizzzarelli, vocals; Mark Kibble, vocals, arappearance on several labels, his early crossover ranger; Alvin Chea, vocals; Zoe Allen, vocals; appeal from the race-based OKeh label, his Corey Allen, producer, arranger, conductor, adaptability to any musical form that struck his piano and keyboards; Bill Cantos, piano; Kevin interest, the unforgettable nature of his perform- Axt, bass; Grant Geissman, acoustic and classiances, his intriguing personal history, the irre- cal guitar; Wayne Johnson, classical guitar, arsistible natural appeal of his original singing ranger; Dave Tull, drums; Scott Breadman, perstyle, the longevity of his recording career, his cussion; Don Alias, percussion; Charlie Bisharat, unpretentious affability and the sheer force of his violin; Armen Ksajikian, cello; Bob Sheppard, talent. The allegiance to Armstrong is twofold: tenor saxophone; Chris Tedesco, trumpet; Den(1) from jazz enthusiasts who recognize the utter nis Deal, arranger; The City of Prague Symincomparability and excitement of his work, and phony Orchestra Strings.
December 2006 Jazz Improv Magazine’s New York Jazz Guide
Cheryl Bentyne
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By Alex Makarov. It is not an easy task to review the Cheryl Bentyne’s work in general and this CD in particular for a few main reasons. In “general”, because the legendary jazz vocal group Manhattan Transfer and Cheryl Bentyne as a member is in the cohort of greats that occupies a very special place in the heart and mind of yours truly, an ordinary but devoted jazz lover from the former Soviet Union. “In particular,” because first, the album is due in stores on late November and it makes me feel a little special as a reviewer and, second, it seems to me that this CD must be a milestone in the solo career of Cheryl Bentyne and in the career of her husband Corey Allen whose role in this project as a producer, arranger of the most of the songs, conductor and pianist is a vital one and proves him as a very talented musician. The first thing that caught my eye when I open the CD cover was the line at the bottom of the page: “The City of Prague Symphony Orchestra Strings”. At this point I realized that this must be something exclusive and it would be better not to proceed with reading, but rather start listening to get an unfettered opinion. I was glad to find my view in agreement with the CD booklet contents. By the way there are no liner notes as such. Instead, there are some thoughts from Cheryl, thanks from Corey and lyrics of the songs that are explanatory enough. There is also something “theatrical” in a good sense in this CD. May be the title The Book Of Love makes it
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look that way, or it could be the chapters of songs in the table of contents in the booklet that looks like a screenplay draft to me. I don’t know. Whatever it is, Cheryl Bentyne in my opinion is perfect for this type of project. I remember her very well the first time I saw the Manhattan Transfer’s Vocalese on VHS back in the USSR. Since then I have always thought of her as a singer who acts or an actress who sings. I have had an opportunity to see the Manhattan Transfer live twice after that and it has just made me certain. All songs for this album were carefully selected and as Cheryl noted – “Some of them so personal, I’d rather not comment.” Her singing is very sincere indeed. Most of the songs are timetested classics. Those that are not will probably be. Each one of these songs represents a certain phase of love. Strings open the first chapter called “Longing” with Eddy Arnold’s and Cindy Walker’s “You Don’t Know Me” and sound like an introduction to the story that lies ahead. There is also a nice bluesy solo from Grant Geissman. The second tune in this chapter is “Be My Love,” the classic by Sammy Cahn and Brodszky. This song arranged by Wayne Johnson as a duo with him on guitar, and Cheryl Bentyne. It includes a deep-sounded and velvety solo on cello by Armen Ksajikian. The second chapter called “Flirtation” consists of the two classics “Blue Moon” and “Let’s Do It.” John Pizzarelli on vocals joins Cheryl on “Blue Moon.” Both tunes were playfully and colorfully arranged. “Blue Moon” is especially picturesque.
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“The Lust” is the third chapter. It contains only one but very beautiful and intimate ballad “Don’t Say A Word” written by Bill Cantos, not so long ago, with him at the piano, strings and nice tenor solo from Bob Sheppard. The title song and “You Taught My Heart To Sing” have been included in the fourth chapter called simply “Love.” In all albums title songs tend to stand out. The Book Of Love is no exception to this rule. It is truly outstanding. Handsomely arranged by Mark Kibble with the instantly recognizable voices of Take 6, this a cappella-sung cappella- sung tune sounds stunning. In contrast, the next one “You Taught My Heart To Sing” is a duet with Corey Allen on piano. Very heartfelt singing from Cheryl and elegant accompaniment from
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Corey make this number gorgeous. Chapter five, “Joy,” comes next with only the one standard “You Go To My Head,” lovingly arranged with strings, guitar, open trumpet and gentle Cuban touch. The sixth chapter contains two timeless classics “Cry Me A River” and “I Am A Fool To Want You,” and is called “Disillusion.” The muted trumpet of Chris Tedesco and accompanying strings creates an atmosphere of disenchantment in “Cry Me A River.” On “I Am A Fool To Want You,” Cheryl Bentyne establishes a strong mood of hopelessness supported by violin and backed by the very capable rhythm section of Corey Allen, Kevin Axt and Dave Tull. “Goodbye” is the only song in the final chapter entitled “Loss.” It sounds sad but there is no desperation, rather a sense of confidence and little hope. This track is dedicated to the memory of Don Alias, who ironically appears in this song posthumously. The abbreviated version of “The Book Of Love” concludes the story. Cheryl Bentyne and Corey Allen preserve a traditional style, bolstered and refreshed by their own musical ideas. Sincerity of singing, illustrative, elegant and tasteful arrangements, the very delicate ap proach to each song, and distinct solos make this CD a solid piece of work.
acquainted with Broadbent’s work in 1976 when I picked up a copy of the great Woody Herman work “The Children of Lima”. I was a young student of jazz at that time and his work made a lasting impression on me, and since then I have always known that when a Broadbent arrangement is included on a recording it is going to be something special, and this release does not disappoint. It has to be noted that although the strings on these selections are largely in the background, they form an integral part of the music and do not have the overlaid fluff feel that some listeners might associate with a “strings’ albums. Broadbent beautifully crafts the arrangements and orchestrations with interesting voicings and many dramatic, expressive and passionate moments. Of the ten pieces included on the disc five are Broadbent originals. “Autumn Variations” is a medium up-tempo swing number with pleasing melodic and chordal movement. E. 32 nd Elegy written as a tribute to Lennie Tristano is mournful and very impassioned. The title piece “Every Time I Think Of You”, opens with some gorgeous solo violin work and orchestration that is sans rhythm section. This is a very touching and moving work with a melody line that would stand up to that of an age-old standard. “Nirvana Blues” is a hip thematic piece with another memorable melodic statement. The last original and closing piece of the recording, “Woody ‘n’ Me, is a ballad dedicated to Woody Herman, with whom Broadbent had a long, fruitful working relationship. The piece retains the warmth and feeling of the session. Of the standards offered all include excellent arrangements and orchestrations. In particular the rendition of the Miles Davis/Bill Evans piece “Blue In Green” stands out for me. The Alan Broadbent orchestration is very emotional and Broadbent exhibits his mastery of how to effectively use EVERY TIME I THINK OF YOU – Artistry tension, climax and release. Music 264 S. La Cienega Blvd., Suite 1264, Broadbent’s playing throughout the reBeverly Hills, CA 9 0 2 1 1 ; cording is impassioned, soulful and technically www.artistrymusic.com. Autumn Variations; excellent. His sense of time is always right on, Bess, Oh Where’s My Bess; Blue In Green; E. his soloing is superb, and his choice of notes is 32nd Elegy; Last Night When We Were Young; always very tasteful. Brian Bromberg’s bass Every Time I Think Of You; Lover Man; Nirvana sound is deep and round and he proves to be a Blues; Spring Is Here; Woody ‘n’ Me. very tasteful and melodic player as well. BromPERSONNEL: Alan Broadbent, Piano; Brian berg also offers up some excellent solo work. Bromberg, Wood Bass; Kendall Kay, Drums; Kendall Kay’s drum work is impeccable and he The AB (Tokyo) String Section. provides the perfect rhythmic feel on these pieces. By Scott Hockenberry This is a touching, tasteful and relaxing recording that is steeped with romanticism and Alan Broadbent’s latest release “Every can at times melt your heart. All in all this is a Time I Think Of You” offers a fine selection of very enjoyable offering that is another great Broadbent original compositions along with addition to Alan Broadbent’s considerable revarious timeless standards. The session is pre- sume. sented in a traditional piano, bass, drums trio with string arrangements included on all selecLinda Bianchi tions. There is a consistent laid-back feel to the recording with plenty of emotion and the excellent orchestral arranging that Broadbent is well LINDA BIANCHI —Ribico #7. Ribico Records, known for. New York, NY 10014. www.lindabianchi.com. Broadbent has worked as a pianist and ar- The Joint is Really Jumpin’ Down at Carnegie ranger/conductor for a virtual who’s who of Hall; Anyone Who Had a Heart; They Can’t musical icons in both the jazz and pop idioms. Take That Away from Me / If I Love Again; On His list of credits include Charlie Haden, Natalie the Sunny Side of the Street. Cole, Woody Herman and Rosemary Clooney PERSONNEL: Linda Bianchi, vocals; Fran just to name a few. I personally first became Minarik, piano. 66
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By Jim Santella In this brief performance, Linda Bianchi sings cabaret with a personal zeal. As an established actress and veteran performer, she knows how to convince an audience. With Only Make Believe, the New York theatrical charity devoted to children in hospitals, she volunteers her time to do that often. The young critics with Only Make Believe may not be too tough on her, but those kids still know what’s genuine and what’s not. Details on the organization, by the way, are available at onlymakebelieve.org. Bianchi is genuine. Her interpretations are the real deal. Light and carefree, she sings with a polished charm. Clocking in at a mere 14:21, the album’s four tracks serve as an introduction to her lovely voice and technique. With only piano alongside, she leaves us plenty of room to absorb the nuances of her performance. Seamless phrasing, studied breath control, pitch accuracy and a conversational eloquence make the difference. Pianist and musical director Fran Minarik provides an interesting texture for the session. For their introduction to “They Can’t Take That Away From Me,” for example, the pianist flows through an array of James Bond themes while supporting Bianchi’s rubato opening. Together, they give this familiar tune a creative aspect that lingers. Then, they flow into the chorus with a delicate air and later transition to “If I Love Again” effortlessly. Both “The Joint is Really Jumpin’ Down at Carnegie Hall” and “On the Sunny Side of the Street” swing with a genuine big band countenance that recalls the heyday of Count Basie, Duke Ellington, Benny Goodman and their extended families. The album even closes with a Basie ending. Step back about 70 years and Bianchi would make a highly successful big band vocalist.
John Coltrane (6-CD Box Set) — Prestige Records, Tenth and Parker, Berkeley, CA. 94710, Concord Music Group, 100 North Crescent Drive, Suite 275, Beverly Hills, CA. 90210 www.concordmusicgroup.com. www.johncoltrane.com. www.johncoltrane.c om. DISC 1: Straight Street; While My Lady Sleeps; Chronic Blues; Bakai; Violets For Your Furs; Time Was; I Hear FEARLESS LEADER
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A Rhapsody; Trane’s Slo Blues; Slowtrane; Like Someone In Love; I Love You; DISC 2: You Leave Me Breathless; Bass Blues; Soft Lights and Sweet Music; Traneing In; Slow Dance; Lush Life; The Believer; Nakatini Serenade; DISC 3: Come Rain or Come Shine; Lover; Rus sian Lullabye; Theme For Ernie; You Say You Care; Good Bait; I Want To Talk About You; Rise ‘n’ Shine; I See Your Face Before Me; DISC 4: If 4: If There Is Someone Lovelier Than You; Little Melonae; By The Numbers; Black Pearls; Lover Come Back To Me; Sweet Sapphire Blues; DISC 5: Spring Is Here; Invitation; I’m A Dreamer, Aren’t We All?; Love Thy Neighbor; Don’t Take Your Love From Me; Stardust; My Ideal; I’ll Get By; DISC 6: Do I Love You Because You’re Beautiful?; Then I’ll Be Tired Of You; Something I Dreamed Last Night; Bahia; Goldsboro Express; Time After Time. John Coltrane: tenor saxophone; Johnny Splawn: trumpet (1-4); Sahib Shihab: baritone saxophone (1, 3, 4); Mal Waldron: piano (1-3); Red Garland: piano (4-7); Paul Chambers: bass (1-7); Earl May: bass (811); Albert “Tootie” Heath: drums (1-7); Arthur Taylor: drums (8-11). DISC 2: John Coltrane: tenor saxophone; Donald Byrd: trumpet (6-8); Red Garland: piano; Paul Chambers: bass; Arthur Taylor: drums (1-5); Louis Hayes: drums (6-8). DISC 3: John Coltrane: tenor saxophone; Donald Byrd: trumpet (1-2); Red Garland: piano; Paul Chambers: bass; Louis Hayes: drums (1-2); Arthur Taylor: drums (3-9). DISC 4: John Coltrane: tenor saxophone; Donald Byrd: trumpet (4-6); Red Garland: piano; Paul Chambers: bass; Arthur Taylor: drums. DISC 5: John Coltrane: tenor saxophone; Wilbur Harden: flugelhorn; Red Garland: piano; Paul Chambers: bass; Jimmy Cobb: drums. DISC 6: John Coltrane: tenor saxophone; Freddie Hubbard: trumpet (13); Red Garland: piano (1-4, 6); Paul Chambers: bass; Arthur Taylor: drums. PERSONNEL: DISC 1:
‘Trane in this collection will be enough for you! Spanning a period of only a year and a half, this collection covers Coltrane’s stint as a bandleader for Prestige Records that began in the spring of 1957. Thirty years old, free from the ravages of a heroin addiction that caused Miles Davis to jettison him, and exploring the Muslim religion of his new bride, Coltrane recorded 125 tracks over 27 recording sessions at Prestige. This set features some of the best picks from that repertoire. The sampler showcases at least one track from each disc. Fragas, Baker and Gasparre’s “I Hear A Symphony” leads things off from Disc One. As pure as a jazz quartet gets, Coltrane’s tenor is warm and smooth whether soloing or playing the melody. Red Garland adds a pretty
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By John Cizik There is no such thing as too much John Coltrane. This review is based on a nine-song sampler of the six-disc “Fearless Leader” box set recently released by Prestige Records. These nine tunes leave you with an appetite for more – and it’s doubtful that even the massive fortyeight track, four-hundred eleven plus minutes of ®
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piano solo, Paul Chamber’s bass and Tootie Heath’s drums lay down a solid groove. Garland and Chamber’s presence is not by chance - they were members of Miles’ band with Coltrane. “Trane’s Slo Blues” is the only original on the sampler, and one of only nine in the set. It starts with a walking blues bass line put down by Earl May. Arthur Taylor handles the drumming, and Coltrane wails on tenor. A couple of solo breaks really showcase his wonderful playing. May solos as well. Things slow WAY down with “You Leave Me Breathless” from Disc Two. Another trio piece with Garland and Chambers, a highlight of this number is the bass solo about halfway through. It is said that during this period in his life, ‘Trane practiced almost obsessively, and one can hear it in the near perfection of his solos. Whether noodling around the melody, or exploring the depths of the chord changes, never a displeasing note is heard on this cut, or anywhere else on the sampler, for that matter. His later career recordings would feature some experimentation, and soloing “outside the box.” Here, things stay more standard. Speaking of standards, we move ahead to Disc Three and the Arlen and Mercer gem “Come Rain or Come Shine.” Coltrane’s tenor takes the melody. Although he did learn to play sax on the alto and played some soprano in his career, John is best known for his tenor work, and it’s the only horn heard on this collection. Garland takes an extended solo on this chart, and a nice addition to the band is Donald Byrd’s trumpet. Clear and crisp with a nice touch of reverb, his solo fits the piece perfectly, and he picks the melody back up before trading off with ‘Trane to end the piece. The Dameron/Basie bop epic “Good Bait” is next, at over twelve minutes the longest track on the sampler. A virtual clinic in tenor soloing, Coltrane improvs up and down his tenor at lightning speed, often going from the top to the bottom of the horn in the same lick. Garland does the same on the piano, as does Chambers on bass. ‘Trane comes back in at about the nine minute mark to trade fours with drummer Arthur Taylor – an interplay that carries on ‘til the saxophone takes the melody over again and out. The last selection here from Disc Three is “Rise ‘n’ Shine,” another cut featuring Coltrane’s smoking tenor work. The speed of Chamber’s bass line throughout the piece is phenomenal. The consistency of personnel in this sampler makes the sound very steady from beginning to end, and one would suspect that cohesiveness carries through the entire box set, since Garland is on keys for all but three tracks, and Chambers’ bass graces all but four. Romberg and Hammerstein’s “Lover Come Back to Me” is from Disc Four, and Donald Byrd returns on trumpet as Dizzy to Coltrane’s Bird. The two play together, separately, and together again without missing a beat. This track flies by at a wicked tempo for seven minutes and change, with both horns and the piano taking long, whipping bebop solos. We’re back to standard time with a track from Disc Five, the classic “I’ll Get By.” This up-tempo rendition features warm, clear sax work from ‘Trane, likely using his preferred ax of the period, a Selmer VI tenor. Wilbur Harden’s flugelhorn follows with a solo and matches the warmth of ‘Trane’s tenor. The 68
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melody is played in the lower registers of the sadness. Heavy hearts and teary eyes give the tenor, giving the tune a throaty sound. program its distinct characteristic. “Let’s Get The sampler wraps with Ary Barosso’s Away from It All” appears as the lone exception, “Bahia.” Named for one of Brazil’s 25 states, the with its cheery theme and upbeat personality. tune’s latin feel is evident in Garland’s chords With lyrics such as “We’re “ We’re off again to Niagara/ setting up the piece. They re-occur throughout in This time I swear we’ll look at the falls” falls” and the piano and bass to cement the sound. Col- “Then off to Reno, but just to play Keno,” Keno,” evoke trane’s melody and solos are a beautiful exten- a positive glow. sion of the theme. Chamber’s bowed bass solo “Blues for Breakfast” carries the program’s adds some interesting sonic flavor to the mix. true identity with its somber spirit and soulful The first of three planned box sets from restraint. The imagery introduces a frail individConcord that will cover John Coltrane’s entire ual waking in the morning and viewing the day Prestige period, “Fearless Leader” sees the leg- with doubts. We’ve all been there. It’s always a end out of the shadows of the greats, stepping to delight to “compare notes” with the composer the front of the stage himself. This sampler is and lyricist who bring us such a message. Conk just enough of an appetizer to leave the listener lin interprets what we’re feeling when the sun longing for the entrée. comes up and we really don’t want to face the day as usual. Of course, this song exaggerates what we usually feel in our homes on those mornings, through lyrics such as “ “ I find the world around me is caving in/He left me with the dawn for parts unknown.” unknown.” It’s heavy stuff, and Conklin delivers right on target.
Mary Foster Conklin BLUES FOR BREAKFAST —Rhombus Records #7064. Phone: 818-709-8480. www.rhombus-records.com. www.maryfosterconklin.com. Before the Show; Spring Isn’t Spring Anymore; Show Me the Way to Get Out of this World; An gel Eyes; That Tired Routine Called Love; Encanto d’Amor; Blues for Breakfast; Will You Still Be Mine; Where Am I to Go?; The Night We Called it a Day; Let’s Get Away from It All; Let’s Just Pretend; Learn to Love; Violets for Your Furs. PERSONNEL : Mary Foster Conklin, vocals; John Di Martino, piano; Tony Romano, guitar; Sean Smith, bass; Ron Vincent, drums; Joel Frahm, tenor saxophone, soprano saxophone; Wilson “Chembo” Corniel, percussion; Leo Traversa, electric bass; David Oquendo, vocals.
By Jim Santella Subtitled Remembering Matt Dennis, Dennis, Mary Foster Conklin’s album salutes the prolific com poser with 14 of his songs, interpreted sensitively by the vocalist with a crew of piano, bass, drums, guitar, and several guests. The instrumentation ensures an intimate portrayal. “Angel Eyes” and “The Night We Called It a Day” ring instantly familiar to most of us. But Conklin has done her research. She’s found songs by Matt Dennis that we’ve not heard before. Most are with lyricist Thomas Adair and align themselves closely with the composer’s unique, torch song disposition. Bobby Troup wrote the lyrics for two of the program’s selections which overflow with passion and cabaret persuasion. The ensemble provides a colorful accompaniment for Conklin, but leaves plenty of room for her to create. Most selections combine dark moods with flowing vocal melodies that express
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Bob DeV DeVos os SHIFTING SANDS – HighNote / Savant Records 2006. www.bobdevosjazzguitar.com. Lost and Found; Three/Four Miss C; Mojave; Shifting Sands; Track and Field; Step Into Spring; But Beautiful; A Different Dozen; Willow Weep For Me. PERSONNEL: Bob DeVos (Guitar), Eric Alexander (Tenor Saxophone), Dan Kostelnik (Hammond B-3 Organ), Steve Johns (Drums), Gary Fritz (Percussion)
By Paul Sakion Ever since Floyd Smith and Charlie Christian brought the electric guitar to the jazz world in the 30’s, it has been one of the cornerstones of the soundscape. Bob DeVos’s recent release, Shifting Sands, Sands, features the modern version of this sound center stage in nine tracks with six original DeVos compositions. This is somewhat of a departure from his previous recordings that focused more on jazz standards and the results make one wonder why DeVos waited to debut his writing talents. While the piece “Lost and Found” is a reasonable beginning, do not judge this album by the opener as each track has a uniqueness worth exploring. “Three Four Miss C” moves more into a straight ahead feel combining guitar and sax melodically to create some interesting timbral effects. “Mojave’s” latin groove, accentuated by Kostelnik’s excellent organ solos, adds a nice variety to the mix and the title piece, “Shifting Sands,” showcases both DeVos’ com positional abilities as well as his ability to exeTo Advertise CALL: 212-889-0853
cute a technically difficult ballad. Rounding out the album, “A Different Dozen,” another DeVos original, features an enjoyable dialog between guitar, organ, and drums. Kostelnik’s organ is present at times as a counterpoint and at times as an accompaniment, while Johns’ drums expertly provide a rhythmic reinforcement of DeVos’ melodic themes. As a finisher, “Willow Weep for Me” might bring a tear to your eye, but not because it is the typical slow torch singer ballad. This up-tempo piece featuring Alexander’s buttery smooth saxophone trading solos with DeVos, is an appropriate energetic ending for Shifting Sands. A wine connoisseur who enjoys a great 1975 Mouton Rothschild on a snowy evening, would definitely ask what they are drinking when served an unidentified, and surprisingly superb table wine at a dinner party. Guitarist Bob DeVos’ album Shifting Sands would definitely elicit the same kind of curiosity and delighted response from jazz lovers who recognize “a fine table wine” when they hear it.
Alex Garcia’ Garcia’s s AfroMantra AfroMantra Records www.afromantra.com. The Uplifting Spirit of Our Soul; Latin American Song; Luna and the Sun; For Emiliano Salvador; Because of You; New Dawn; Yemaya, Goddess of the Sea; Autumn Dreams; Green Horizons; Lighting the World; My Word PERSONNEL: Alex Garcia, drums, timbales, percussion; Ole Mathisen, soprano and tenor saxophone; Desmar Guevara, piano; Waldo Chavez, bass; Aryam Vazquez, congas, batas, cajon, percussion; Pablo Vergara, piano, keyboards, Fender Rhodes; Manuel Valera, piano, Fender Rhodes; Jorge Fernando Rodriguez, acoustic guitar; Jorge Castro, tenor saxophone; Jorge Bringas, bass. UPLIFTING SPIRIT –
By Curtis Davenport
vana, Cuba. All the while, young Alex was soaking up a rich musical education both directly, from his choreographer mother and his composer father and indirectly, from the music that he heard at home and in his formal education. Mr. Garcia counts among his influences Miles Davis, Pink Floyd, Perez Prado, and Irakere. By the time he arrived in New York in 1996, Garcia was ready to put all of these influences into practice, in an environment that was as culturally and musically diverse as was his background and so he did in 1997, when he formed AfroMantra. Uplifting Spirit is Spirit is a disc that I grew to like more each time I listened to it (and I listened many times). This is a tribute to the outstanding writing and to the all-star musicians who bring the vision to life. Norwegian-born saxophonist Ole Mathisen, who has recorded with Eddie Gomez and Peter Erskine has a full robust tone on the tenor, similar to that of another great Latin Jazz tenorman, David Sanchez. Like Sanchez, he is also not afraid to head for the “free” side of the street, when a piece warrants, such as on “Yemaya, Goddess of the Sea.” Also, check out his work on the disc’s best cut, “Nuevo Amanecer (New Dawn),” a track that keeps you on your toes, by switching from an easy going first half, highlighted by Mathisen’s Grover Washington-like soprano and guest tenor man Jorge Castro’s tenor counterpoint, floating over guest star Manuel Valera’s dreamy Fender Rhodescarga,, where Valera shows des; to an all out descarga off his Chucho Valdes influenced piano and Mathiesen shows us the grittier side of the so prano sax. The group’s pianist Pablo Vergara, a veteran of Dave Valentin’s group, has several highlights as well, most notably on “Suenos de Otono (Autumn Dreams),” in a trio with Mr. Garcia and guest bassist Jorge Bringas. Percussionist Aryam Vazquez is rock steady throughout, turning in first class work on the congas, batas and cajon, that is a perfect compliment to leader Garcia’s work on the traps. This CD is called Uplifting Spirit for Spirit for good reason. These eleven tracks, all penned by Mr. Garcia, are upbeat and positive in tone, even when the tempo slows down. Please note that AfroMantra’s brand of Latin Jazz, or AfroCuban Jazz, if you prefer, is not the mambodriven product favored by Mario Bauza, Machito and other greats of the 50’s and 60’s. Although those influences can be heard, this music owes more to the sound of Irakere, Paquito D’Rivera and the ‘70’s, when the influences of free jazz and rock fusion began to make their way into Latin music. If this is a new experience for you, I advise you to open up your mind as well as your ears and enjoy a joyous, life-affirming musical ride.
Uplifting Spirit (Espiritu Optimista) is the third offering from AfroMantra, the formidable New York based Latin Jazz ensemble, led by drummer/percussionist Alejandro “Alex” Garcia. Mark Helias Mr. Garcia and his band draw from a variety of influences that are as wide and storied as Mr. Garcia’s background, to create a truly contempo- ATOMIC CLOCK— Radio Radio Legs Music. rary view of the marriage of jazz and various www.markhelias.com. Sub Subway way;; Chav Chavez; ez; Cine Cine-Latin musical styles. matic; Momentum Interrupted; Modern Scag, A bit of Alex Garcia’s personal history is Atomic Clock; Plantini, What Up; Up; Zephyr; Many worth noting here. Born in Santiago, Chile, Mr. Nows. Garcia and his family fled Chile, in 1973, when Mark Helias, bass; Tony PERSONNEL: Alex was seven, as a result of a military coup. Malaby, tenor saxophone; Tom Rainey, percusThe family landed in Peru, where they remained sion; Ellery Eskelin, tenor saxophone on Modern until 1979, at which point they moved to HaScag . To Advertise CALL: 212-889-0853
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By Ken Weiss
A tentative or hesitant quality seems to come through as Wood explores the lower register of the flute during the outset of “I Remember Clifford.” A bit more confidence seems to come out later and Jackson, who sounds distant and further away on this track, matches the mood that was already set. “Peanut Butter Two” is the third and final Latin-leaning piece on this recording and the formula, style, and relative tempo that was established on the earlier tracks returns for one last hurrah. “Sunset Blues” is the final track on the album and, as opposed to the other solo piano tracks, Hicks gives us three minutes and twenty seconds of uncensored blues piano playing. The late John Hicks will be sorely missed and this recording is a testament to his fine tal-
Mark Helias’ Open Loose includes 3 heavyweights from the NYC “downtown music” scene and has been playing off and on together for 10 years. This is their fourth release and is augmented by the talented Ellery Eskelin who also has held down the horn role in the band’s past. All but one of the ten compositions are by the leader and feature crafty yet melodic writing, incorporating a basic structure which serves as a By Dan Bilawsky firm stepping point for sauntering improvisation while avoiding broad dissonance. The music is John Hicks had the type of musical career that many musicians, jazz or otherwise, can only adventurous yet accessible, mainly living in the low to mid tempo intensity range. Helias and dream about. His musical skills graced reRainey form one of the most pliable rhythm cordings from Art Blakey, Woody Herman, sections around and Malaby is perhaps the most Betty Carter, Pharaoh Sanders, Charles Mingus, highly touted tenor of his generation. What Arthur Blythe and many other legends of jazz. sounds like a winning recipe is, as the band is Whether playing in a strong blues vein, a Latin fully lubricated after taking a seventeen-day tour jazz context or a quietly contemplative setting, of the US prior to recording in December 2005. Hicks musical persona always shines through the The opening tune, “Subway” erupts out of music. Sweet Love Of Mine, recently released on the starting gate with an immediacy that is both High Note Records, was recorded a mere five bold and bracing. Close your eyes and just feel weeks before his unfortunate passing. This althe wild subway ride, racing across New York bum displays his talent in several different musion hot metal tracks, just beware of pickpockets. cal contexts, ranging from solo to sextet and The beautiful “Chavez” is quite an experience; many things in between. Jazz fans will marvel at each artist has plenty of space to be heard and his wide-ranging skills on every track. “One ents. the years of playing together as a unit and in Peaceful Moment,” the album opener and one of Hot Club of Detroit other projects makes for attractive storytelling. three Hicks tunes on the album, is one of the Drums and bass are resilient and clear in the mix most tender solo piano pieces I have ever heard. but be prepared to be taken by Malaby’s golden Donald Elfman, in his liner notes, says that “it’s HOT CLUB OF DETROIT—Mack Avenue horn. You might expect the addition of Eskelin as if he’s stopped in the midst of his jazz career Records #MAC 1030. Mack Avenue Records, on “Modern Scag” would lead to a hell-raiser but for a moment of needed quiet contemplation,” Inc., 18530 Mack Avenue, #299, Grosse Point Helias is a proponent of the unexpected and and I couldn’t agree more. Javon Jackson joins Farms, MI 48236. www.mackavenue.com/ folds the second horn into what is really a ballad. in for a duo performance of “I Guess I’ll Hang www.hotclubofdetroit.com. Belleville; Passion; Eskelin’s tone is richly burnished in comparison My Tears Out To Dry.” Jackson’s tone is very Honeysuckle Rose; Leila; Stompin’ at Decca; to Malaby’s acidic and plaintive horn on this focused and, with just the slightest hint of vi- Nuages; Swing One; Aurore; How Insensitive; piece. The combined voice of the tandem is soul- brato, the listener can’t help but be drawn in by Tears; Godfather Theme; Troublant Bolero; Anouman.. ful and stirs strong emotions. “Atomic Clock,” his seductive saxophone soliloquy. Hicks pro- Anouman the shortest cut at just over a minute, bubbles vides the gentlest cloud-like chords beneath PERSONNEL: Evan Perri, lead guitar; Colton along a near nuclear meltdown while “Zephyr” Jackson and his solo is hypnotically relaxed and Weatherston, rhythm guitar; Paul Brady, rhythm is an impressive tune that has that aged feel of a relaxing. Woody Shaw’s “Sweet Love of Mine,” guitar; Shannon Wade, string bass; Dave Bennett, clarinet; Julien Labro, button accordion. comfortable standard. Nimble bass along with one of several tunes on the album that feature the soft sax pleadings dance cheek to cheek as flute work of Elise Wood, sounds like it could Rainey delicately builds the universe around have been a classic track from Mongo San- By C.J. Glass them. “Many Nows” finishes the disc and its tamaria. The drum and percussion solo, from I know what you’re thinking, and no, these compositional credit goes to the entire trio. UnVictor Jones and Ray Mantilla, is the clear hightracks are not Berry Gordy’s Motown interpretawrapping slowly, it includes an enticing bass light here. solo and chesty sax blasts as the group plays Hicks returns to the solo setting for the tions of Django Reinhardt songs. The Hot Club more daringly on this presumed spontaneous mellifluous “The Things We Did Last Summer.” of Detroit was founded four years ago at Wayne ditty. All the songs on this recording are rela- While the playing on “Once I Loved” is fairly State University and since that time has gone on tively short and there’s no wasted effort. Helias’ subdued, Curtis Lundy’s bass playing locks in to take first place in the 2004 Detroit International Jazz Festival competition and win the Open Loose continues to play at a high level, with the drums and percussion to give the music teasingly seductive at times, casting a silvery a slight Brazilian lilt. The piano soloing, which 2006 Detroit Music Award for “Outstanding mood, all done, for the most part, while traveling follows that of Jackson, matches the suave style Traditional Jazz Group/Artist.” This eponymous the speed limit. There is much to savor here. of the tenor saxophonist with clear assurance and debut is further evidence of an ensemble that is style. Lundy gets a chance, early on, to stretch coming into its own and has great growth potential. out on “Hold It Down” and the bassist does not John Hicks Much to its credit, The Hot Club of Detroit squander the opportunity. Hicks follows Lundy has avoided the task of only recreating classic with some fine soloing and the ensemble ratchets High Note Re- up the intensity behind Jackson’s solo. Soloing Gypsy jazz repertoire. New tunes, arrangements, SWEET LOVE OF MINE— High cords HCD7142. www.jazzdepot.com. One from Victor Jones is peppered throughout the instrumentation, and the overall vibe of this band obviously kindle enthusiasm amongst players Peaceful Moment; I Guess I’ll Hang My Tears end of the track and his musical communication Out To Dry; Sweet Love Of Mine; The Things with the rest of the musicians is strong. The per- and fans alike. Of course, sometimes musical We Did Last Summer; Once I Loved; Hold It formance and atmosphere of “Mambo Influen- excitement can lead to “pushing the time,” driv Down; Mambo Influenciado; I Remember Clif- ciado” is cut from the same cloth as the perform- ing the rhythm out of a swinging balance, but that sensation is by now almost indigenous to the ford; Peanut Butter Two; Sunset Blues ance of the title track. An extended percussion PERSONNEL: John Hicks, piano; Javon Jackand drum solo spices up the middle of the song genre. son, tenor saxophone; Elise Wood, flutes; Curtis and the music, which only exhibits the mildest The best examples of The Hot Club’s style Lundy, bass; Victor Jones, drums; Ray Mantilla, amount of intensity, sizzles throughout. on record are “Honeysuckle Rose,” “The Godfa percussion. ther Theme,” and “Anouman.” “Rose’s” multi70
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modulated opening is sure to perk a few ears. Add a finely crafted solo for clarinetist Dave Bennett (note the “Scrapple From the Apple” quote), a nifty shout chorus, and Shannon Wade’s slap-bass interjection, and we have ourselves one sweet rendition. Clocking in at 11:35, “The Godfather Theme” is a very long journey, but, well, geez, who else plays “The Godfather Theme?” This one is perfect for Julien Labro’s button accordion. Evan Perri throws all he’s got into his guitar and Bennett quotes again, this time from “Sing, Sing, Sing.” Talk about build and drive (thank you Colton Weatherston and Paul Brady). Tempo, tension, and dynamic shifts are also brought in for the proper effect. Finally, “Anouman” brings The Hot Club of Detroit full circle, beginning out of nothingness just as “Belleville” does when it opens the album. There is a mystery to this song, one that is left unsolved. Something about the whole tone intro. and outro. surrounding the key of d minor begs the question, “What is next for The Hot Club of Detroit?” So, what in fact, will be next for the sextet? It will be nice to find out. While not inexperienced, the group is still young and in some ways rough around the edges. More importantly, The Hot Club of Detroit shows promise, and for that, we can be thankful.
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Sean Jones Mack ROOTS— Mack
Avenue Records. www.mackavenue.com. Children’s Hymn, Roots, Divine Inspiration, God’s Gift, Come Sunday, Lift Every Voice, Offering Time, Conversations, El Soul, Puddin’ Time, What We Have, John 3:16, I Need Thee. Thee . PERSONNEL: Sean Junes, trumpet, flugelhorn; Obed Calvaire, drums; Luques Curtis, acoustic bass; Orrin Evans, keyboards, piano, Fender Rhodes; Tia Fuller, alto sax; Eddie Howard, organ, piano; Jerome Jennings, drums. By Ken Franckling On his third CD as a leader, trumpeter Sean Jones has built a very strong, and very personal, bridge between the gospel music with which he grew up and the jazz that hooked him hard starting in the fifth grade. In a sense, Roots is all about this busy young trumpeter’s past and his present and points to a strong direction for the future that awaits Jones, who is lead trumpeter in the Lincoln Center Jazz Orchestra, leads his own group and teaches jazz at the university level. The opening track is a solo version of the traditional “Children’s Hymn,” into which he weaves a snippet of “Jesus Loves Me.” It doubles as an introduction to his beautiful tone and command of the horn. The title track, “Roots,” is a showcase for his quintet that features great To Advertise CALL: 212-889-0853
interplay between Jones and alto saxophonist Tia Fuller as their harmonics and cross-melodies converge, separate and join again. It also includes a rhythmic reference to the thundering extended version of “Lift Every Voice” that follows mid-CD. The soloing and the ensemble playing are quite beautiful on the title track. “Divine Inspiration” features Jones on flugelhorn and Orrin Evans on Fender Rhodes, supported only by bass and drums, which opens the tune in a way that reveals more delicacy and inner beauty. Duke Ellington’s “Come Sunday” and the aforementioned “Lift Every Voice” also feature the quartet (trumpet plus rhythm section). Both are masterful showcases for his conversational trumpet. Drummer Obied Calvaire’s “God’s Gift” is another piece performed by the two-horn quintet, with Jones showing off some of his blistering high note skills without giving any sense that he’s doing it merely because he can. In other words, it fits the music, as does Fuller’s upper register alto work that follows. Their intensity is a joy to behold. Jones’s “Offering Time,” featuring Eddie Howard on organ and Jerome Jennings on drums, is a trio burner with a swinging intensity that feels like it comes right out of New Orleans. Evans’ “Conversations” brings back the quintet in an intense fusion mode that blends a shuffle rhythm and some tasty electronic keyboard work, including flute effects. Ali Jackson’s wistful ballad “El Soul” and Brad Leali’s rollicking, blues-drenched “Puddin’ Time” are straight-ahead modern jazz pieces, the latter kicking up the intensity of the proceedings before Jones reverts to his gospel-music focus on his original ballad “What We Have” and two ®
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traditional pieces, “John 3:16” and “I Need Thee.” The latter, the closer at this musical service, is a soulful and stirring duet featuring Jones’s trumpet and Eddie Howard on piano.
Barbara Lea & Loren Schoenberg Big Band BLACK BUTTERFLY www.barbaralea.com .
THPOPS2: Black Butterfly; Together; Bend A Little My Way; Restless; My Foolish Heart; How Will I Remember You; It’s So Peaceful In The Country; Blame It On My Youth; When They Ask About You; ‘Round Midnight; All By Myself; Blackberry Winter; If I Love Again; Mother May I Go Out To Swim; Just Squeeze Me; I Let A Song Go Out Of My Heart; Come Rain Or Come Shine. PERSONNEL: Barbara Lea, vocals; Jack Stuckey, Jon Gordon, alto sax, woodwinds; Chris Madsen, Mark Lopeman, tenor sax, woodwinds; Carl Maraghi, bari sax, bass clarinet; Seneca Black, Irv Grossman, Brian Pareschi, Randy Sandke, trumpets; Mike Christianson, Eddie Bert, Bobby Pring, Brent Wallarab, trombone; Steve Ash, piano; James Chirillo, Guitar; Yasushi Nakamura, bass; Kenny Washington, drums. By Larry A. Detwiler After a storied career that has seen performances in such noted venues as the Village Vanguard, Carnegie Hall, Town Hall in New York, the Newport Jazz Festival, the Kool Jazz Festival, and the JVC Jazz Festival, and impressive awards as the Best New Singer of 1956, Black Butterfly is the most recent of the dozen CD’s of Barbara Lea’s that are currently available on the Audiophile label. Recorded in 2005 and 2006, at the age of 76 and 77 (and let’s be honest here – who among us as musicians wouldn’t love to be simply performing at that age, let alone making recordings!) feels like a celebration of a singers life in music. Lea has always been recognized as a singer of great diction, a true story teller in song, and that continues to show on this recording. Lea isn’t going to dazzle you with virtuosity, but you are going to understand the meaning of the song. Backed by the Loren Schoenberg Big Band, with which Lea has been the vocalist for the past 20 years, Black Butterfly is a collection of familiar songs, original compositions, and selections that should be performed more often than they are. The familiar selections begin with the first track and the title song of the album “Black Butterfly” by Duke Ellington, Irving Mills, and Benito Caine Carruthers, arranged by Benny 72
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Carter, which in addition to the laid back, sultry voice of Lea features very interesting, tasteful piano fills by Steve Ash on piano and a Bobby Pring solo on trombone. The jazz standard “My Foolish Heart”, and “Come Rain Or Come Shine”, by Johnny Mercer and Harold Arlen are very effective with Lea performing with just the accompaniment of Schoenberg on piano. “’Round Midnight”, by Thelonious Monk, Cootie Williams, and Bernie Hanighen features the quartet of Lea, Schoenberg, Ken Kimery on drums, and John Eckert on trumpet who’s tone is somewhat reminiscent of early Miles Davis. “All By Myself” by Irving Berlin, and “Just Squeeze Me” by Duke Ellington and Lee Gaines is once again Lea with Schoenberg on piano and tenor sax overdubbing (on All By Myself). On these up-tempo swing tunes Lea demonstrates a great rhythmic feel. I would enjoy hearing her do more of these types of songs in place of a few of the slower ballads. “I Let A Song Go Out Of My Heart”, by Ellington, Mills, Henry Nemo, and John Redmond features the entire big band with Lea. James Chirillo plays a nice solo on guitar, and Schoenberg plays what I feel is the best solo of the CD on tenor sax. There are two originals on the CD by Lea and Chris Madsen, “Together”, and “Mother May I Go Out To Swim”. “Together”, with solos by Jon Gordon on alto sax and Steve Ash on piano presents thematic lines very reminiscent of “You Make Me Feel So Young”. The swing tune “Restless” with Mark Lopeman on clarinet and the double time passages in the saxes call back memories of the big band era. The flutes, muted trumpets, and brushes on the drum set provide a great timbre and plenty of space for Lea to interpret “How Will I Remember You”, which also features Schoenberg on tenor sax, clearly the most accomplished of the musicians in this band. “When They Ask About You” features an excellent solo by Randy Sandke on trumpet, who is a close second to Schoenberg among the instrumentalists. There are a couple minor complaints I have with this CD. First, I feel that there are times when Lea’s pitch is just a touch on the flat side. Second is in the mixing of the sound for the band. The lowest sounds need to act as the foundation of everything else. I feel that these voices are a bit in the background giving everything a slightly trebly sound. I think more bass sound would give the entire CD a better sound. My third complaint involves the band. The Loren Schoenberg Big Band is excellent throughout the CD. The problem is I kept waiting for them to turn the band loose and let them blow a little, and it never came. It felt as if the band was held back on this CD. In light of those things, I would still suggest this CD to any listener. Owning this recording is like owning a piece of jazz history. Any vocalist would be wise to emulate the way Lea eliminates the frills and gimmicks and concentrates on the most important aspect of singing – the meaning and emotion of the song. In the process she pulls you in and gives you a new appreciation and understanding of the way songs should be performed.
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Elisabeth Lohninger Lofish Music. Web: www.teramusic.com/lohninger Mirage; The Weather In New York City; The Only Way Out Is Up; Spring Can Really Hang You Up The Most; As The Tides Turn; Delirious Joy; Swimming Upstream; Be A Lion; Falling Grace; Free To Fall PERSONNEL: Elisabeth Lohninger, voice; Walter Fischbacher, piano, keyboards; Chris Tarry, bass; Hari Ganglberger, drums; Mino Cinelu, percussion (tracks 1, 3, 4, 7, 8); Donny McCaslin, saxophones (tracks 3, 7, 8). THE ONLY WAY OUT IS UP –
By Curtis Davenport Elisabeth Lohninger is one of the more busy and familiar faces on the New York City downtown music scene. The Austrian-born vocalist is a part of the Jazz Department faculty at The New School, has produced and performed music for television ( Alias ( Alias and the venerable daytime drama, One Life To Live are just two of her credits), she also performs as a pop soul artist under the pseudonym “Tera” and now, she has released The Only Way Out Is Up, Up , her second jazz release under her own name. This CD caught my attention immediately, with the opening track, “Mirage,” a haunting, sensual piece, that I feel can be best described as Scheherazade and King Shahryar spending a few of their 1001 nights in a jazz club. Ms. Lohninger’s subtly erotic lyric, and her voice, a rich, passionate alto, come together to create a perfect after-dark in the desert atmosphere. Canadian electric bass master Chris Tarry, then takes the track to an even higher level with a dexterous solo that reminded me of Stanley Clarke at his best. By the time Elisabeth returns to restate the theme, you’ll know that Midnight at the Oasis was never like this. The mood and the tempo then shift quickly, with the next track, “The Weather in New York City,” a bright, bustling piece, which describes the scene outside during a snowstorm in lower Manhattan. The track is enlivened further by Walter Fischbacher’s energetic and tasty piano solo. At three and one-half minutes, it is a delightful track that, like a good time in NYC, goes by much too quickly. We are then taken in another direction, with the title track, a piece of writing that, with its’ jazz funk rhythm and sardonically witty lyric, would make Donald Fagen proud. It is my favorite track on the album, if only for the fact that you have got to love a song with a lyric that admonishes someone to “get up and get your butt out of the mud.” As an extra treat, this track also features some marvelous tenor sax work from Donny McCaslin, one of the great, under recognized saxophone players working today. To Advertise CALL: 212-889-0853
Of the ten cuts here, seven have been many memorable ones on this CD. penned by Ms. Lohninger, which is just fine, for The Only Way Out Is Up is, on the whole, as you may have guessed by now, she is a talan eclectic, risk-taking and pleasing disc that, ented composer and lyricist. However some of manages to successfully find a balance between the most unusual and interesting work on the a hip, downtown New York City vibe and the CD, comes in the three tracks that Ms. Loh- conventions of jazz traditions. I have seen many ninger did not write music for. One of them is a artists try for this type of balance before and fail, very well known jazz standard, that has been because their efforts leaned too far toward one covered by the greats from Getz, to Ella, to Betty side or the other of the fence. Elisabeth LohCarter and more, another is a piece from a ninger, however, is a performer with enough of Broadway musical classic, that is rarely heard the equal parts of intelligence, nerve, imaginaoutside of the show and the third a piece that has tion and talent that are necessary to pull it off been played often, but has to my knowledge, not and she does so, marvelously. had a lyric until Ms. Lohninger came along. “Spring Can Really Hang You Up The Most,” the aforementioned jazz standard, is usually taken at a tempo that fits its’ wistful lyric. But Lohninger and her cohorts turn the melancholic THE IMAGE OF YOUR BODY— www. cryptogramoCryptogramophone . ballad, into a swinging samba, highlighted again by Mr. Fischbacher’s joyous, creative piano phone.com. Equal Grace; Luck Shifts; Fear Behind; To the Roof; Yellow are Crowds work and Ms. Lohninger’s festive, scat-filled Slips Behind; of Flowers, ii; The Image of Your Body; Be vocals. I have heard many versions of Bread; If You’ve Not Been Fed; Your Face “Spring…” over the years, but until this version, Arrives in the R Redbud edbud Trees; Made It Out. never one that made me feel upbeat after it was Myra Melford, piano; BranPERSONNEL: over. ”Be A Lion” is from the score of “The don Ross, elec. guitar, banjo, voice; Cuong Vu, Wiz.” Once again here, a piece that is known trumpet, electronics; Stomu Takeishi, elec. and widely as a ballad, is given an up-tempo treatelectronics;; Elliot Humment, with excellent solo work from the guest acoustic bass guitar, electronics berto Kavee, drums. stars; McCaslin, this time on soprano sax and percussion superstar Mino Cinelu, who adds his distinctive touch to four other tracks, as well. By Ken Weiss Finally, Steve Swallow’s “Falling Grace” is Myra Melford made her name known in the given a beautiful reading here, with the addition early ‘90s with some strong trio recordings with of Ms. Lohningers poignant words. Fischbacher’s piano solo here, is the best of his
Myra Melford
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with Lindsey Horner and Reggie Nicholson, By Curtis Davenport demonstrating a carnivorous command of the piano along with penning creative compositions. , is an unex Noel: One From the Heart Since that time she has continued to produce and pected delight in the midst of the usual glut of record outstanding material while becoming Holiday themed discs that appear around the end deeply involved in Buddhism. of any year. There are a number of reasons for This disc presents her new band, Be Bread, the delight. First, it comes from Barbara Montwhich draws significantly from the visionary gomery, the wonderful, smoky voiced, Philadelrecordings of Henry Threadgill. Melford, like phia chanteuse, whom we simply don’t hear Threadgill, has lived in India and studied the enough from. Ms. Montgomery, whose singing harmonium. The Threadgill connection is further has always reminded me of two fifties cool strengthened by the fact that three of Melford’s school greats, Chris Connor and June Christy, musicians, Kavee, Ross and Takeishi, have spent had a career with many interesting stops before time in various Threadgill bands. This is not to arriving at jazz’s door around ten years ago, imply that she is a Threadgill-want-to-be, only including makeup artist and cameraperson for the first tune, “Equal Grace,’ has you thinking the Mike Douglas show, background singer for with closed eyes that it’s the mighty alto player Harry Chapin and musical director for diet and at work, rather she extends his thoughts, insert- exercise guru Richard Simmons. Ms. Montgoming her own soul into the equation. Taken as a ery has never been afraid to take chances on her whole, this recording doesn’t have the aggres- prior efforts, taking on not just the usual stansive attack of her earlier work but it does mix it dards, but also the music of jazz greats that up in areas. The song titles bear a spiritual bent aren’t generally associated with vocalists, such yet this music is never preachy although at times as Chick Corea (on 2001’s marvelous Dakini it unfolds with a calm that is prayerful. Land), Duke Pearson and Freddie Hubbard (both “Luck Shifts” is saturated with a George on 2002’s Little Sunflower). Second, is the absoWinston-esque sweet melody, bright and simple lute simplicity of the instrumentation. There are but develops into a significant statement sure to no overblown string sections, no jingling sleigh enlighten your day. “Fear Slips Behind” has a bells to hammer home the fact that this album contrasting darkness centered on the raspy bits includes Christmas songs. There is simply Ms. of Vu’s trumpet and the ensemble’s climbing Montgomery’s soothing, voice and the piano of steamy intensity. “To the Roof” opens with spaTom Lawton (replaced by Barry Sames on “O cious solo piano until the band eventually adds Holy Night”). an agitated undercurrent, building an ominous Finally, the song selection is impeccable. element into the dreamy piece which ends on a Ms. Montgomery has chosen a set of ten selecsingle clang off Kavee’s cymbal. Melford finally tions, split between time honored Holiday season gets around to unleashing her unmerciful tenta- standards, and a few titles that may be familiar, cles to the piano keys on “Yellow are Crowds of but have not been overdone. She renders them in Flowers, ii” for a too short solo before moving to a straightforward, unaffected style that warmed the title track which includes Ross’ breathy talk- the heart of a Christmas traditionalist such as ing and scrappy banjo along with the leader’s me. There are no vocal pyrotechnics; no attempts harmonium which drones on like a church organ. render a song unrecognizable for art’s sake. You “Your Face Arrives in the Redbud Trees” is can drop this disc into your Holiday music mix especially satisfying, evolving slowly with gen- and not draw confused looks and groans from tle waves of non-stop trumpet peaking over your guests. In fact, if they are unfamiliar with warm pulsing piano, drums and bass, quickly Ms. Montgomery, they are likely to ask how coming to a full boil near the tune’s end and they can get their own copy. filled with Vu’s haunting electronically-altered There are a number of standout tracks here. trumpet. “O Little Town of Bethlehem,” is a perfect match between the song and the singer. It is enlivened by Mr. Lawton’s subtly driving piano accompaniment and Barbara’s vocals that follow his rhythm. Two traditional songs that aren’t heard often, “Lo How A Rose E’re Blooming” and “Coventry Carol” are combined into a beautiful, haunting, medley that you will remember long after the track ends. “Children Go Where I Send Thee,” gently sways and swings along for an infectious eight-plus minutes, which seems to go by in half that time. Ms. Montgomery seems to be having a good time singing the song and Mr. Lawton is at his most creative, even taking a Two rare solo turn. As a listener, you will be drawn in NOEL: ONE FROM THE HEART— Two Beans Music #23070. www.bjazz.com. I’ll Be and enjoy yourself as well. The best track on the Home For Christmas; What Child Is This; Lo disc is a complete surprise: “A’ Soalin,” co How A Rose E’re Blooming/Coventry Carol; O written by Paul Stookey of Peter, Paul and Mary, Little Town Of Bethlehem; Carol of the Chil- associated mainly with the folk group and generdren; O Come O Come Emmanuel; A’Soalin’; ally sung in a style closer to that of a madrigal, Children Go Where I Send Thee; O Holy Night; becomes a finger snapping groove tune. Appar Have Yourself A Merry Little Christmas ently, Ms. Montgomery and Mr. Lawton were PERSONNEL: Barbara Montgomery, Vocals; out to out the “soul” in “A’ Soalin” and they Barry Sames, piano (O Holy Night); Tom succeeded. She purrs her way through the song, Lawton, piano (all other selections)
Barbara Montgomery
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with little whispers and asides that are uncharacteristic, but definitely welcome. This track is a pure delight and you’ll find yourself returning to it again and again. Barbara Montgomery’s Noel: One From the Heart , is a disc I can recommend highly to the singer’s fans and to anyone looking at this time of the year for great Holiday music that is not in everyone’s collection. If this disc serves as your introduction to this singer, I hope it will whet your appetite to discover more of her work. You’ll be glad you did.
Andrew Scott Potter Bons Ritmos BOP SAMBA RAP— Bons Music #1414. Baralho Dois Ouro; On The Up side; Samba Duro; Coco Rumba; Very Easy; Eu Avistei; Eu Avistei Bop; Preto Velho; Coco Bop Rap Suite; Boa Viagem; Vamparatu PERSONNEL: Paulo Russo, acoustic bass; David Eric Tillman, piano; Assis Calixto, vocal, triangle; Damion Calixto, vocal, pandeiro; Ari Brown, tenor sax; Rafael Vernet, piano; Luizao Maia, electric bass; Jose Luiz Maia, electric bass; Walter Bishop, Jr., piano; Tony Cimorosi, electric bass; Ranieri Ricardo, piano; Gustavo Anacleto, alto sax; Fabio Costa, trumpet; Bruce Whitcomb, guitar, electric bass, piano; Braulio Araujo, electric bass; Edi, lead vocal; Alex Foster, tenor sax, soprano sax; Iuma Calixto, backup vocals; Adreza Karla, panderiro, backup vocals; Ira Calixto, backup vocals; Bruce Dunlap, guitar; Itamar Assiere, piano; Nicky P, congas; Andrew Scott Potter, drums, piano; “Chupetta”, perc. COCO
By Curtis Davenport We have all heard the old adage, “you can’t judge a book by its cover”. Well, today I would like to amend that saying to include compact discs, which I will now admit, cannot always be judged by their cover art, or for that matter, by their titles. Coco Bop Samba Rap, Rap, is the disc that made me come to this conclusion. I must admit that when I first saw the cover artwork and then I read the rather clumsy title, I feared that I was in for an experience similar to those I’ve had with discs from many remainder bins, which has been often unpleasant. But, to my surprise (and relief), I found Coco Bop Samba Rap to be, for the most part, an appealing blend of jazz and indigenous Brazilian musical styles. The concept of Coco of Coco Bop Samba Rap, Rap, is the brainchild of Andrew Scott Potter, an American born drummer who worked in his early days with artists such as the great bop era pianist, Walter Bishop, Jr., organist, Dr. Lonnie Smith and avant-garde guitar innovator, Sonny Sharrock. Potter then moved to Brazil in the early To Advertise CALL: 212-889-0853
nineties to study Brazilian rhythms and percussion methods. While there, he became greatly influenced by the music of the “mangue bit” movement that was coming out of the city of Recife, in Northeastern Brazil; and much of his drumming style now reflects those influences. On this disc, Potter has recruited some firstrate Brazilian jazz musicians, such as bassist Paulo Russo, who is also one of Potter’s collaborators in the Rio de Janeiro Jazz Trio and is here helping Potter to form a rock solid rhythm section on most tracks. There are many others musicians, mostly Brazilian and some American, who stop by and add their special touch to one or two tracks. Some of the more familiar names are journeyman saxophonist Alex Foster, a veteran of the Mingus Big Band and Jaco Pastorius’ group; also Ari Brown a veteran avant-garde and bop saxman from Chicago. For me however, the most memorable appearances came from the Brazilian musicians, most of whom were new to me, but some of whom were so good, that they have led me to start to hit my online resources, in an attempt to track down more of their recordings. Notable among these are pianist Rafael Vernet, who grabs your attention with his inventiveness on “Very Easy” a bop based trio burnout written by Paulo Russo, Itamar Assiere, who along with bassist Jose Luiz Maia, give a samba called “Preto Vehlo” a warm feeling reminiscent of the late Manfredo Fest’s best contemporary jazz work and an uncredited violinist, who ably shares frontline duties with guitarist Bruce Whitcomb, on Mr. Potter’s haunting “Coco Rumba.” One of the focal points of this disc, is an attempted fusion of Brazilian musical styles with jazz and rap. The large majority of the eleven tracks are really either jazz with a Brazilian tinge or vice-versa. For the most part, those cuts are very successful. As for the Brazilian-jazz-rap fusion that is attempted on three tracks, it should be applauded as an innovative and intriguing idea. In a jazz world that is often lacking boldness and originality, artists who are willing to try something different should always be encouraged. In its’ execution though, for me, it only really worked once, on “Eu Avistei”, a track with a very strong Afro-Brazilian rhythm, a Portuguese chorus that is infectiously repeated, exciting jazz-based solos from Brazilians, Fabio Costa on trumpet and Ranieri Ricardo on piano (also check out their smoking mainstream jazz chops on the second half of this piece, which is called “Eu Avistei Bop”) and some nice fills, in English, from a rapper named Mr. E. This piece seems to work, because hip hop is another element in the beautiful amalgam and it is not being asked to carry the piece. When the rap/hip-hop influence is the main focus, as it is on two other cuts, “Coco Bop Rap Suite” and “Boa Viagem”, the results are at best, mixed. The “Rap Suite” has some interesting ideas, such as sampling a great Walter Bishop piano solo, but it tries to cram in too many concepts and it runs out of ideas before its’ twelve minutes are up. “Boa Viagem features a beautiful Brazilian melody, written by Mr. Potter and some solid musicianship. However Mr. E’s gruff voice in the rap sections of this tune, are a bit out of place with the rest of the surroundings. Again, this is a first To Advertise CALL: 212-889-0853
experiment and still a very interesting one. I hope to hear more from these and other artists attempting to expand their horizons in this way in the future. The package also includes a bonus DVD, Sambao, Swing, Mangue Jazz , shot on location around Brazil, which features some fine Brazilian jazz from Andrew Scott Potter, The Rio de Janeiro Jazz Trio and many of the artists featured on the CD. It also features some spectacular Brazilian scenery, of the environmental and the human variety. Overall, if you are looking to expand your Brazilian jazz horizons beyond the Bossa Nova, Andrew Scott Potter’s Coco Bop Samba Rap, is not a bad place to start. Musically, it includes far ®
more hits than misses, it is reasonably priced, especially when you consider the 2-disc CD/ DVD package and finally, it is a great way to gain exposure to some talent that definitely deserves more of the spotlight.
Sonny Stitt STITT’S BITS: THE BEBOP REPrestige Records CORDINGS, 1949-1952— Prestige
PRCD3-30043-2. www.concordmusicgroup.com PERSONNEL: Sonny Stitt, saxophones; Gene Ammons, saxophones/vocals; J.J. Johnson, trombone; John Lewis, piano; Max Roach, drums; Art Blakey, drums; Bud Powell, piano, with other musicians.
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wish the fade-out, which I am assuming repre- By Scott Hockenberry sents an incomplete take, didn’t arrive. The lone Teddy Williams session here features two songs Prior to hearing his first major release, All with some slightly over the top vocals from Wil- The Things We Still Can Be, Be, I was unfamiliar liams. The delivery tends to be a bit much on with trumpet player and composer Jacob Var“Touch of The Blues” but Williams nails the mus. I have to admit that it will often take listenmood and humor of “Dumb Woman Blues.” ing to a few tracks before I warm up to, or can While several tracks in this collection feature fully appreciate, the style of an artist that is unvocals from the whole ensemble, the most enjoy- known to me, but with Varmus I was drawn in able of these is “Who Threw The Sleeping Pills from the first cut. By Dan Bilawsky In Rip Van Winkle’s Coffee?” The enthusiasm Varmus has a style that echoes some of the and positive spirit of the band is easily trans- smooth sounding trumpet masters of the past like Harvey Pekar, jazz aficionado and subject ferred to the listener during this performance. Chet Baker or early Miles Davis, while yielding of the film American Splendor , laments the fact Stitt’s baritone saxophone graces many of the a fresh contemporary edge similar to Tom that there is a lack of recognition for Stitt’s con- Ammons-associated dates and, while he is not Harrell or Dave Douglas. He plays with a pleastributions to the world of jazz. Stitt, often looked the dominant voice in these moments, many ing round and full sound, and his improvisations at as “a technically skilled copier of Charlie great tracks, like “La Vie En Rose,” are created. are lyrical and musical, in what I would largely Parker,” claimed to have developed his style Larry Townsend’s vocals on “To Think characterize as a cool style. without ever hearing Parker’s playing. Miles You’ve Chosen Me” and the highly energetic Of the eight tunes presented on this release Davis, who heard Stitt in 1942, noted that Stitt’s “After You’ve Gone” are standouts from Stitt’s six are Varmus originals, and he proves himself style had already been in place by that point. recordings in late 1950. “Jug” and “Wow” are to be an able composer with pieces written Regardless of a who-did-what-when argument two songs that meet the description of the afore- largely in the traditional/post-bop style with and chronological treasure hunt, Stitt deserves to mentioned Ammons group recordings. This sep- much attention to melody and form. His compobe recognized as one of the most important jazz tet sounds like a strong big band and the urgency sitions have a sense of purpose and structure saxophone players in the mid-twentieth century here is astounding. Matthew Gee’s trombone with very listenable and memorable melody and, to be honest, the history of jazz. This collecsolo is the highlight of “Wow” and the title aptly lines. tion of music focuses on the period from 1949- describes my feelings toward the performance. The disc begins with the original “Ecstatic 1952 and we get to hear Stitt’s stylistic range “Can’t We Be Friends” is the strongest display, Little Porpoises” (you have love that title), and creative ideas on alto saxophone, tenor saxo- present in this collection, of Stitt’s alto saxo- which is an up-tempo boppish piece that features phone (which features most prominently) and phone work. The final Ammons session in this fine solo work by Varmus, guitarist Nate Radley baritone saxophone. Prestige Records has done a set is ballad heavy, with three out of four tracks and pianist Toru Dodo. The rhythm section, fantastic job compiling all of these recordings, falling into this category, and shows a com- which is completed by Yoshi Waki on bass and placing them in chronological order, providing pletely different side of his personality. The final Brian Woodruff on drums, is tight, blends well details on the musicians involved with each ses- disc closes out with energetic zeal, apparent in and provides a solid improvisational springsion and making corrections where errors might “Sonny Sounds” and “Stitt’s It,” and the Mambo board. Following is the title track “All The have existed in prior releases. While personnel magic of “Cool Mambo” and “Blue Mambo.” Things We Still Can Be”, which is written on the changes occur and different leaders are associPekar, being the honest and thorough writer that (you guessed it) “All The Things You Are” ated with these sessions, the bulk of this set is he is, readily acknowledges that Stitt’s personal form, and it is a light lyrical piece with an enjoytaken from sessions of Sonny Stitt and/or Gene life, issues with alcohol and drugs, lack of alleable, bright melody line. The next cut “Untimely Ammons. giance to a particular stylistic camp and several Intrusion” is a more foreboding piece that disJay Jay Johnson’s Beboppers open the first other factors have contributed to his lack of rec- plays the diversity of Varmus’ compositional disc with “Afternoon in Paris,” “Elora,” ognition. However, this body of work and many skills. In this piece Nate Radley takes the first “Teapot,” and “Blue Mode.” Two takes of each other fine recordings of Stitt clearly demonstrate solo, and he proves himself to be a fine improsong are present and, as Pekar mentions, you can that as a soloist, ensemble leader, writer and viser playing tasteful lines and displaying ample hear Stitt “synthesizing some Lester Young in- performer, he is truly in a class all his own. chops. Varmus also proves he can play with fluence with the Bop vocabulary.” The session technical competency and performs one of the on December 11, 1949, which is co-led by Stitt more harmonically interesting solos of the sesand Bud Powell, produced the best consecutive sion here. Throughout this piece the rhythm recordings on this collection. “All God’s Chillun section is driving, and they nicely build a sense Got Rhythm” is a fine demonstration of taste in of urgency and tension. soloing and “Sonny Side” is brimming with The beautiful ballad “Everything Happens energy. “Bud’s Blues” maintains a suave deTo Me” shows the major influence of Chet meanor throughout and “Sunset” is simply Baker on Varmus. He plays in the soft lyrical breathtaking. Stitt, serving as composer on three Baker style and even takes the tune out singing out of those four tunes, demonstrates fine writing eight bars a la Baker. “Country Dave Tex Mex” skills. The next couple of sessions, featuring is a fun, rolling piece that has several style shifts various musicians under the moniker of the with a bouncy, sunny and memorable melodic Jacob Varmus line. On “What Is This Thing We Still Can Be” “Sonny Stitt Quartet,” are heavy with standards. “Later,” Stitt’s only writing contribution here, Varmus’ attention to tradition comes through features some lovely gliding down the saxo- ALL THE THINGS WE STILL CAN BE— with the melody line fairly clearly quoting phone that resembles gently cascading water. Kin Records. www.jacobvarmus.com. Ecstatic “What Is This Thing Called Love”. He takes on “Mean To Me” and “Stairway To The Stars” are Little Porpoises; All The Things We Still Can a bit of the Miles Davis persona here beginning an opportunity to hear his big, open sound in the Be; Untimely Intrusion; Everything Happens To the tune playing muted trumpet that is very remilower register of the tenor saxophone. The ses- Me; Country Dave Tex Mex; What Is This Thing niscent of Miles’ sound. sions with Gene Ammons, which are plentiful in We Still Can Be?; Why Don’t You Dance?; PerThe last Varmus composition, “Why Don’t this collection, are unique in the fact that these petual Motion You Dance”, further exemplifies what seems to medium sized groups (of less than ten musi- PERSONNEL: Jacob Varmus, trumpet, cornet, be a penchant for the cool style. It is a floating cians) manage to capture the spirit, sound and vocal; Nate Radley, Guitar; Toru Dodo, piano; lyrical tune with a fine sense of melody and nuances of big bands on many of these tracks. Yoshi Waki, bass; Brian Woodruff, drums; Chris movement. Here the melody is doubled on trumSeveral takes of “Blues Up And Down” begin Komer, french horn (8). pet and guitar, with well-crafted solo efforts by the second disc and the music is so great that you Dodo, Varmus and Radley. The disc closes with 76
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an original composition by bassist Yoshi Waki, titled “Perpetual Motion”. The piece blends well with the feel and mood of the session and is a light, rolling, well-structured composition. Overall this is a very respectable first offering by Jacob Varmus, and it includes fine performances by all of the session members. The writing style is interesting and diverse, and it is a recording that holds interest from start to end and never gets stale. Although you can readily hear Varmus’ influences in his playing, you can also hear his individual personality and style come through. I am sure this release will garner a good bit of much deserved attention for Jacob Varmus, and I personally am eager to hear what he offers up next. With the release of All The Things We Still Can Be, Be, Jacob Varmus is proving that he is moving toward being all the things that he can be.
Steve Turre High Note #HCD7159. KEEP SEARCHIN’— High www.jazzdepot.com. Sanyas, Faded Beauty, Thandiwa, Reconciliation, Time Off, My Funny Valentine, Easy Now, Steppin’ Out, Da Blues, Keep Searchin’. PERSONNEL: Steve Turre (trombone, shells); Xavier Davis (piano); Stefon Harris (vibraphone); Akua Dixon (baritone violin); Gerald Cannon, Peter Washington (bass); Dion Parson (drums). By Bill Donaldson Like many other musicians, Steve Turre views the privilege of playing music as a revitalizing, lifelong quest. The learning is never com pleted, the pleasures are never depleted, and the depth of its spirituality is never reached. And so, Turre captures the process of his life’s journey with the title of of Keep Searchin’, its informality in character with speech patterns and more im portantly with the music’s accessibility. Turre’s search takes on a more personalized nature than it has on some of his past tribute albums because the majority of Keep of Keep Searchin’s tracks consists of his own compositions, allowing him to explore various sonorities on the trombone (and shells) and to perform with stylistic diversity. In addition, Turre features his wife, Akua Dixon of Quartette Indigo, on three of the tracks, where she plays baritone violin, deepening his personal statement on the CD. Moreover, Turre’s group interjects some memorable moments in the performance of his compositions as they give evidence of their own personalities even while they capture the intensity and the humor of Turre’s works. And so, the execution of Turre’s ideas is as intriguing as their conception. To Advertise CALL: 212-889-0853
The first track, “Sanyas,” represents Turre’s first recorded composition (on Woody Shaw’s 1974 Moontrane) as well as the track on which he first soloed. Turre begins Keep Searchin’ by Searchin’ by playing his innovative contribution to jazz instrumentation, the shells, which Rahsaan Roland Kirk encouraged him to play. While one would expect the shells to suggest invocation of spirits, instead, surprisingly enough, Turre’s 45-second shells introduction to “Sanyas” invokes the blues. After that, the entire group deepens the groove of the piece that switches between threefour and five-four. And five-four it is when Turre ends the piece on shells again, just as, symmetrically, he concludes the entire CD on shells when he invokes the listener to “Keep Searchin’” too. Beyond the stylistic variations included on the recording, its additional strengths encompass the apparent infinity of voices with which Turre’s trombone can speak, as well as the gratifying contributions of the other members of the group, as fulfilling on an individual basis as on a collective one. Voices? Turre’s range from the challenging hard bop articulation of Curtis Fuller’s “Time Off” to the plunger-muted gutbucket wailing of “Da Blues” over its pronounced quarter-note beat. From Turre’s affecting mid-range shaping of “My Funny Valentine” to his own preferences (down a fifth from its usual key) to his muted wah-wah-ing of the melody of Stefon Harris’s “Faded Beauty” over Dixon’s gliding harmonic lines. By attaining control of the material he includes on Keep Searchin’, Turre has provided himself with a showcase for the prismatic colors the trombone offers in its creation of contrasting and complementary hues, always engaging and, well, gorgeous too. Other musicians’ contributions? First of all, one can’t miss the influence of Dixon on three of the ten tracks, as she adds vibrancy and a richness of texture to the group. On “Sanyas,” Dixon makes her first appearance, enhancing the piece’s excitement with her own irresistible heightening of tension before the shells’ fadeout at the end. Her final performance on the CD is even more memorable as she develops a musical narrative, rising from a relaxed phrase through swing and to to a final ostinato ostinato whose pitch pitch Stefon Harris seamlessly picks up as the beginning of his solo. Turre has been a frequent collaborator on Harris’ albums, even unto his latest one, African Tarantella. Once again, Turre chooses instrumentation that supports the sound he seeks. And so, when Turre rips through Curtis Fuller’s propulsive “Time Off,” a true showcase for the trombonist as he shows unfettered articulation, there is Harris as well, playing in unison on the fast first chorus and then taking his own supercharged solo. On “Reconciliation,” Harris blends in with Turre’s statement of the melody by harmonizing, adding a glassy overtone before they break into simultaneous improvisations at the end. Moreover, “Reconciliation” resolves the question about how well two chorded instruments will fit within Turre’s arrangements. Pianist Xavier Davis’s comping sets up the feel of the piece as he stays out of the way of the soloists until it’s his turn to step up front as well. ®
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And how well he does that—with graceful chorded improvisation. “Time Off,” on which Turre’s entire group shines as if energized by its challenge, allows Davis to take off with fervid intensity, demonstrating his technical ability on the fast tunes as well as his respectful leadership in shaping the development of ballads. For instance…the entire feeling of “My Funny Valentine” changes during and after Davis’s solo when he changes the dynamics of the piece after Turre’s straightforw straightforward ard interpreta interpretation. tion. Keep Searchin’ is Searchin’ is a fine ensemble album that provides Turre with the freedom he searches to create music that reflects his experiences, his interests and his spirit.
Vic Juris Corey Christiansen LIVE AT THE SMITHSONIAN JAZZ CAFÉ Mel Bay Records. www.melbayrecords.com. Roads, Alone Together, Awakening, All the Things You Are, Floater, Black Nile, Stella by Starlight, Kaiya’s Dance, Sweet 16, For Shirley, Softly as in a Morning Sunrise. Sunrise. PERSONNEL: Vic Juris, guitar; Corey Christiansen, guitar; Bill Moring, bass; Tim Horner, drums. By Dimitry Ekshtut Good jazz needs to be seen as well as heard. This is why we go to concerts instead of listening to records at home. The act of making music
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is physical enough to more than warrant our attention. Nuances of body language, facial ex pressions, and the sheer pleasure of seeing art created before one’s own eyes keep us engaged in the music on a multitude of sensory levels. Mel Bay’s DVD release of an exceptional concert at D.C.’s Smithsonian Jazz Café by guitarists Vic Juris and Corey Christiansen does just that. Joined by the understated eloquence of Bill Moring on bass and Tim Horner on drums, Juris and Christiansen provide nearly two hours of inventive, engaging guitar discourse. The two guitarists were wise to keep their offerings varied, breaking up the monotony that plague many similar two-guitar ensembles. They play as a quartet for no more than half the performance. The rest is dedicated to the trio, eliminating one guitar, or duo format, eliminating the bass and drums. Each setting offers its own inherent possibilities, allowing for both individual and collaborative musical statements. Christiansen and Juris also contribute their own compositional voices – originals make up roughly half of the material on this DVD. This programmatic foresight works wonderfully to make each subsequent song fundamentally different from the last. Juris and Christiansen share the spotlight equally, but there is a sense of deference on behalf of Christiansen to the elder Juris. Christiansen is happy to follow Juris’ lead, often allowing him to play the melody and take solos first. Juris seems content in his role as the more seasoned of the two, ably guiding Christiansen in their different configurations with his commanding tone and mature lines. Yet Christiansen’s contribution is in no way small. He provides three of the five originals on the DVD and seems to be the impetus for the entire collaboration. His tunes, “Roads,” “Awakening,” and “Kaiya’s Dance” are marked by a compositional dexterity and clarity often seen in older players. Juris en joys the challenge of these tunes, adding muchneeded color to Christiansen’s playing with strategically placed melodic and chordal volume swells. This string-like effect, one of the staples of Juris’ style, is enhanced by his MIDIequipped guitar. Such clever use of the instrument is but one of the ways in which Juris and Christiansen manage to play with each other with little danger of getting in the way. While Christiansen is at his best playing on his own compositions, his combined efforts with Juris are most effective on their duets. “Alone Together” finds the guitarists melding their playing together into one unified sound. Their communicative prowess is evident as they both hit the first note of the melody. Christiansen backs off and begins to accompany Juris, who returns the favor in the bridge. The mutual respect these musicians have for each other is obvious as both are wholly concerned with providing the other with balanced support. Their interaction takes on a strong sympathetic bent as both solo together before returning to the melody. “Stella by Starlight” is another evocative Juris-Christiansen duet. Once again Juris plays the melody, afterwards taking an inspired solo that demonstrates both his impressive technical command of the guitar and keen musical taste. As they engage in a mutual solo, shots of 78
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Christiansen and Juris from different angles appear as a single, dynamic split-screen image. It is such post-production editing that makes for a truly enjoyable and unique experience with the DVD format. An added bonus is the inclusion of an interview featuring Juris and Christiansen in which they discuss their collaboration and the events leading up to it. Both guitarists offer their perspectives on each other’s playing styles, explain the behind-the-scenes work that went into setting up the concert, and offer up some amusing anecdotes. Separately, Vic Juris and Corey Christiansen are exciting musicians full of fresh musical ideas. Yet as the concert and interview both attest, the work that they have done together is of a greater quality than either might have achieved on their own. Prompting, pushing, and pulling, Juris and Christiansen bring out the best in each other musically and that is what a great collaboration is all about.
Michele Rosewoman THE IN SIDE OUT – Advance
Dance Disques. www.michelerosewoman.com. Cuerpolarity; Warm; Link; Guapo; Guapo Remix; Eshu Laroye; With You In Mind (for Duke); The ER; The Fineness Of; Advance Dance; Life is for Learning PERSONNEL: Michele Rosewoman, piano, Fender Rhodes, midi keyboard, vocals; Mark Shim, tenor saxophone, midi wind controller, programming; Miguel Zenon, alto and soprano saxophones; Brad Jones, acoustic and electric bass; Derrek Phillips, drums. Special guests: David Fiucynski, guitar; Josh Roseman, trombone; Olu Femi Mitchell, vocals; Pedro Pablo Martinez, congas, bata, vocals, percussion. By Ronald Lyles Pianist Michele Rosewoman has been active on the jazz scene since the early eighties. Despite a still growing legacy as a leader of consistently original and rewarding recordings, as well as performances and recordings in collaboration with, or support of many notable musicians, Rosewoman does not seem to have the profile among jazz consumers that her significant talent merits. The In Side Out is Rosewoman’s fifth recording with her ensemble, Quintessence and first recording in six years. On her first self produced recording on her own label, Rosewoman presents a program incorporating a variety of musical styles which both influenced her and illustrate her range as an artist. In addition to Rosewoman, the core members of the group are saxophonists Mark Shim and Miguel Zenon,
December 2006 Jazz Improv Magazine’s New York Jazz Guide
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bassist Brad Jones and Derrek Phillips on drums. The sonic palette is expanded on several tracks where the quintet is augmented by either guitarist David Fiuczynski, Josh Roseman on trombone, vocalist Olu Femi Mitchell or percussionist Pedro Pablo Martinez. Except for the Marvin Gaye penned “Life is for Learning” that closes the disc, all of the compositions on The In Side Out were written by Rosewoman. There is a dancing quality that permeates many of Rosewoman’s compositions that can conceal the sophisticated playing by the musicians and underlying adventurous spirit in her music. Rosewoman’s own piano style is similar to her compositional approach in its bouncing rhythmic feel, combined with an edginess in her grouping and choice of notes. Rosewoman also effectively optimizes the use of horns. Instead of simply utilizing the collective horns to state the heads, she often writes parts which require horns to play off each other and also interact with the soloists throughout a song. In this regard Zenon and Shim are well suited and complimentary foils. Both are young stars on the rise and their contributions throughout The In Side Out are Out are consistently strong. The above qualities are brought into focus on tracks such as “Link” and “With You In Mind (for Duke)”. Rosewoman, Zenon on so prano and Shim all make definitive statements over Phillips skittering rhythm pattern on “Link”. Josh Roseman’s trombone is added to the ensemble on “With You In Mind (for Duke)”. The arrangement on this track is a highlight of the disc. Roseman’s trombone played in subtle counterpoint with the other horns in the head over the strolling rhythm is a delight. Roseman, Zenon, and then Rosewoman all make engaging solo statements before the horns return for a brief conversation to close the tune. Another side of Rosewoman is revealed on the convincing R&B/funk influenced tracks, “Warm” and “The Fineness Of”. “Warm” features Rosewoman on Fender Rhodes and added electronic effects. The relatively brief “The Fineness Of” is all about the head nodding groove laid down by Jones and Phillips underneath a simple unison horn line. On both tracks Fiuczynski adds gritty guitar licks. Rosewoman brings out the electric keyboards again on “The ER”, which in cahoots with Martinez’ percussion and Fiuczynski’s guitar evokes a mysterious mood. Shim’s confident solo here, as elsewhere, is a highlight and begs the question why we do not hear more from this talented musician? Possibly the most emotionally powerful track on the disc is “Eshu Laroye”. Martinez’ percussion establishes the infectious AfroCuban groove; and combined with the chanting vocals of Rosewoman, Mitchell and Martinez give the track an overall spiritually hypnotic effect. The track also intersperses sections of the previously discussed dancing feel where the instrumentalists get to stretch out a bit. Only time will reveal whether Rosewoman will receive more exposure within the jazz community. For now, The In Side Out is Out is a fine representation of her creative spirit and a welcome addition to her recorded output.
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FREDDIE HUBBARD & THE NEW JAZZ COMPOSERS OCTET
CACHAO DECEMBER
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